Quote from: Hans Kuijs - What is ... really, what is fiction in 2013
Redemptorist Monastery, Wittem, February 24 t / m 1 April 2013
Technique, imagination and beauty.
Hans Kuijs paints, draws, makes sculptural work and installations, photographs and writes. In each discipline knows he is on a totally recognizable way to express your own handwriting. And he mastered his craft to perfection. A great drawing skills, an unerring sense of color, and the technical perfection in the mastery of material such as oil, tempera, watercolor and associated carriers.
He is not the type of artist that is guided by what the outside world expects of him. He makes art from an inner necessity to create images, constantly driven, as it should, because it no other way.
The essence of art is interesting as it is made from inner necessity by an artist who constantly remain alert with regard to the chosen technique. How successful he or she is. There must be room for experimentation, for development, for a permanent quest for an appropriate technique to portray thoughts and feelings
During the process work. It is therefore not considered in advance and carefully elaborated. While painting and drawing are changing thoughts into images. Intuitively he chooses the right hand button and technology. In his drawings and watercolors he confidently, because once on paper are no longer possible changes.
He says: "If I sign, there is no room for fear of what I think and feel. My emotion is freely converted into lines, scratches and color. "
This remark allows the artist to be vulnerable, because we can do anything with it on. Anxiety, emotion, liberation. And now we are not about technology but about the imagination. Hans Kuijs in his work an explorer of his own thoughts. His work is a representation of the way he deals with what is happening in the world, a search for the underlying reasons, the sense and nonsense of it. The work organizes the chaos of the mind. How to deal with violence, violence, death, with imperfections, loneliness, with faith, suffering and hope.
But what does this mean for you. How do you read this? I just mentioned that vulnerability. You should work to dismiss it as too personal, as therapeutic and according to my own intent should I give you the space to think about this. But there is much more going on. We are dealing with an artist who trained his thoughts into images. Images that are technically well drawn or painted and as such could not continue as an illusion of reality. He is like no other resting create a surface with a number of lines that a space or a horizon suggest. That in the chaos of lines form manages to touch that mean something. Lines and shapes that encourage imagination in the viewer`s own story to finish.
Let but you even know what you see in my work said Hans. And so we left. He has me completely released in the interpretation and experience of it, sent me by regular mail on new work and I could write my story.
And like me, you are a spectator not tied to the search for a solution to the puzzle of the artist. You can share your thoughts run free, like the artist himself has done.
If I with you may return to an earlier question about the work of this artist, we can speak of someone in any technique or any stylistic period which he makes an honest and thorough manner looking for organization of his thoughts into images that matter do.
If we give him a place to give in art history, we can see him as an artist in mind and act fascinated by the color of Jan van Eyck, the diversity of his work is like Francis Picabia, and because of its immediacy in Sigmar Polke. Slide the three together, says Hans himself, then you have an artist that I can recognize.
Can art human improvement and stronger? is the question asked in the invitation. I can only answer for myself. Art that only good will that is equally enjoyable. This art, which meaning, existential explores the deeper meaning of it considering and not to unilaterally forcing belief or interpretation that remain inciting imagination, therein lies great beauty.
Drs.Liesbeth Schreuder art historian, February 2013 ©