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<\/a><\/div><\/div><\/div><br \/>Jan Maarten Voskuil (1964) makes spatial paintings. Like a woodworker, he makes curved and<br \/>crushed wooden stretchers, which he spans with painter’s linen and often paints in<br \/>monochrome colors. His constructions are based on simple geometric principles: the circle, the<br \/>square, and the rectangle. With a minimum of resources, he knows how to develop his work in a<br \/>broad, wide-ranging spectrum, generally standing in the shoes of constructive, minimal and<br \/>concrete art from the twentieth century.<br \/>His work is often labeled as a spatial object, sculpture, and autonomous design or even as<br \/>architecture. He himself continues to call himself a painter, because his frame of reference is<br \/>painting. Spatial or not, “It remains paint on linen, and is about the limitations of the flat<br \/>surface, especially the lifting of it, “he argues.” You also don’t call the work of Carl Andre a<br \/>painting, even though it is flat, do you?”<br \/>Yet there is something to be said for not only seeing a painter in Voskuil. Over the years, his<br \/>ingenious stretch canvases have mainly become modular constructions, which can sometimes<br \/>also be arranged in variable ways. With this he is next to being a painter mainly a “builder” of<br \/>paintings and then it comes close to architecture.<br \/>Jan Maarten Voskuil holds a MA of General Arts from the University of Groningen (1989) and<br \/>completed the second phase at the Hogeschool voor de Kunsten in Arnhem, the Ateliers<br \/>Arnhem (1997). He lives and works in Rotterdam<br \/><\/p>\n<\/div><\/section><\/div><\/p><\/p>\n","protected":false},"excerpt":{"rendered":"
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