Robert Zandvliet and Harry Haarsma chose the theme ‘Veronica’ for the exhibition.
The woman who unsuspectingly wiped the sweat and blood from Christ’s face as he carried his cross to Golgotha, or Calvary, is known to this day as Veronica. She owes her name to the cloth with which she wiped his face and captured his likeness: vera icon. This ‘true image’ shows, according to tradition, not only the divine countenance, but also the dying man.
The quest for the true image is not exclusive to this legend; it fascinates the artists Robert Zandvliet and Harry Haarsma and fosters ideas in their art. For years now, they have been following each other’s development and, since 2009, have been working in the same studio complex. On a daily basis they exchange thoughts on what they’re doing and what interests them. De Ketelfactory provided them with the opportunity to continue their discussion in the context of its space.
Haarsma’s ‘de-booked’ book ‘Veronica en Toptuig’ (2009-2011) serves as the point of departure for their exhibition. Over the past few months, a sketchbook was placed on a table between their studios. Here they each collected and arranged their discoveries and sources of inspiration with regard to Veronica. This visual investigation has been developed by Zandvliet into a large wall hanging and by Haarsma into several smaller paintings.
At the opening, the small sketchbook will be presented as a publication and thereby become part of the exhibition.
Robert Zandvliet first established his reputation with large paintings involving wide brushstrokes; genres such as the still life and landscape were their points of departure. In his recent works Zandvliet takes a new step in his exploration of painting. Concrete works of art, by such figures as Rembrandt, Hokusai and Pollock now serve as the basis for his investigation. Like his previous works, these paintings vacillate between figuration and abstraction.
