VIEW IN MY ROOM
Netherlands
Drawing, Graphite on Paper
Size: 8.3 W x 5.8 H x 0 D in
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The Very Spot This graphite pencil drawing ‘Beek - 18-05-23’ follows my previous one of Den Haag. I wanted to do this one for a long time. That’s because I remember the very spot from a visit at age 10. There is this smashing walking route in the hills outside Nijmegen, called the ‘N70’. I have walked it many times or parts of it but the first time is burned into my memory. You come across the Kastanjedal (Chestnut Valley) on the route and a little creek runs downhill. Allegedly you could drink from it so I tried that out for sure. From the fact I write this art statement you can assume it didn’t do me much harm. There is also this wooden bridge that looks a bit makeshift. It’s probably constructed of branches from the immediate vicinity. I presume the water still is drinkable although I didn’t try this time. Another Treescape I felt the urge to render leafy structures in cubist planes once more though. The beamy structures of the armrests only add to the flavour. However, the challenge was to clearly depict the main theme, namely the bridge and the path lingering upwards. Next to that the leafy patterns are running all across it. They almost seem to disturbe the scenery, even ripping it apart. So it was a matter balancing out light an dark planes but also keeping the structure of the path. This way I hope to offer some guidance through the landscape but also beautiful abstract tonal qualities.
Drawing:Graphite on Paper
Original:One-of-a-kind Artwork
Size:8.3 W x 5.8 H x 0 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Netherlands.
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Netherlands
1969, born in Nijmegen. My work can be seen in many countries all over the world. Corné employs a variety of styles that all have one thing in common: the ever search for the light on phenomena and all the shadows and light planes they block in. His favorites in doing so are oil paint, dry pastel and graphite pencil. He states that it’s not the form or the theme that counts but the way planes of certain tonal quality vary and block in the lights. Colours are relatively unimportant and can take on whatever scheme. It’s the tonal quality that is ever present in his work, creating the illusion of depth and mass on a flat 2d-plane. Corné combines figurative work with the search for abstraction because neither in extremo can provide the desired art statement the public expects from an artist. Besides all that, exaggeration and deviation is the standard and results in a typical use of a strong colour scheme and a hugh tonal bandwith, in order to create art that, when the canvas or paper would be torn into pieces, in essence still would be recognizable.
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