Peter Peereboom voltooit in 1974 de Koninklijke Academie voor beeldende kunsten te Den Haag. In 1979 verhuist hij naar Parijs en verwerft internationale erkenning. In 1984 exposeert hij in het Centre Pompidou en sinds begin jaren tachtig is zijn werk te zien in galeries in Italie, Zwitserland, Belgie, New York en natuurlijk ook in Nederland. Vanaf 29 maart tot en met 25 april is er een tentoonstelling van Peter Peereboom in Galerie Atelier Beeld. Er zijn composities te zien van een vrouwenfiguurtje dat een lijkt te worden met de ritmisch geschilderde achtergrond  van golven of akkerlandschap. De vrouw torst een lijn die een verbinding tot stand lijkt te brengen tussen de leegheid van de ruimte en de horizon waarop zij zich bevindt.

Eline de Jonge “Unlike most representational artists of the current decade, Eline de Jonge does not begin her own creative voyages from a particular visual prerequisite.
Rather, she moves exactly in the opposite direction. Eline de Jonge begins with one clear cut concept, that she may find visually stimulating, than, following her questing nature, she seeks a way to express that concept
through the vocabulary of her chosen medium.
For Eline de Jonge, painting is manifestly an act of visual poetry. But it is also an act of passionate involvement with a creative idea. The intriguing ambiguities of cast shadows, like in Giorgio de Chirico’s work, or the energizing power of motion and speed, speak eloquently of a distinct fascination with her own era as well as pointing to a daringly creative personality.” Enzo Russo Apprentice of Giorgio de Chirico
More information about the artist and photo's of her work you can find on www.elinedejonge.com

     Cathalijn Wouters .The human figure is central to the work of Cathalijn Wouters (1955), a graduate of St. Justus Academy in Breda. Observing the model with a keen sense of empathy is the core she works from. Even in her abstract work, the absence of the figure seems to leave a memory behind. Wouters’s work is beyond reality. Her new technique, Wax Art, charcoal drawings conserved behind wax, creates a diffuse perspective with space for the imagination.
To Cathalijn Wouters, the drawing is an extension of the thought. With a few lines, she captures the moment of a pose, a gesture.
Beyond Reality presents a comprehensive survey of the work of Cathalijn Wouters combined with her drawings and Studio Notes.
In its very presence, her Wax Art has an atmosphere all its own. A certain expressive illusionism that characterizes the drawings is reinforced by the wax. “Transparent paper helps me pursue the invisible.” Wouters imbues her work with a mysterious universal power.  
More information about the artist and her work you can find on www.cathalijnwouters.nl

  Pex Gerretsen (1961) trained as a classical sculptor under Renske Morks (1931). She subsequently mastered her painting techniques. Her canvases are sometimes captivating, sometimes moving, ever impressive. Observing with an inquiring attitude she looks beyond the facade. Her images sometimes hide themselves or in contrast emerge in a theatrical way; they are not existing models. Observations are taken from the urban environment, her immediate surroundings and the papers.

The work of Pex Gerretsen can be interpreted on more than one level. The mode is figurative, but within her style there is scope for other art forms, theatre, literature and even music for those who are insightful. For example in her portraits, the first impression maybe the dramatic element; but subsequent observation reveals not merely random embellishment, but the true essence of which her work evolved.

    Craig Cutler creates photographs based on concept 1st in mind. His design background is his foundation for collaborating and turning concepts in to photography. He is particularly good at finding ideas and concepts in places and things where they virtually do not exist. From a simple coat hanger to a concrete block, to a corridor at the airport Craig aims to see these objects from a new or different point of view, out of context. His biggest strength is brainstorming about the conceptual idea on projects long before ever taking a picture. For him, one of the most fun parts of being creative is first sketching out ideas on paper. “Everyone can take a picture. Few have great pictures with great ideas”. www.craigcutler.com

      Paintings of Ana Garcia Alcocer  dwell in an odd spot between representational and abstract painting. Images referring us to the ordinary world are found in her work: bodies, fruits, strange looking creatures. Yet, these figures are tenaciously struggling to maintain their shape so as not to dilute in a sea of colors and sensations. Paintings by Ana Garcia-Alcocer are almost like getting the subconscious X-rayed: rare and arbitrary figures detach from their natural environment and get drawn out of ordinary life to merge into Ana’s thinking and feelings. Figures will never be the same again. They emerge from this artistic communion filled with significance, and turning into symbols of a private and self-biographic language. Thus, in this crossroad between expressionism and surrealism, Ana’s paintings represent an entirely subjective vision of the World. Perhaps, we should neither talk about “a world” nor “a vision,” but rather a large number of worlds built from images reclaimed by artistic imagination. Then, in the “Five Senses” series, each sense becomes a world of its own. Odors, flavors, visions and sounds represent different ways of experiencing our surroundings, and each sense has got the ability to transform objects into sensations. www.anagarciaalcocer.com

  De menselijke emotie, ook in al zijn subtiele verschijningsvormen, vormt het kleurrijke hart van de schilderijen van Daphne Jansen ( 1960) . Uit diepe warme tinten, die vaak laag over laag zijn aangebracht, komen figuren tevoorschijn. Zij zijn "gevoeld" en ontstaan uit de beweging van de verf; niet aan de hand van een model. het werk is poetisch en vraagt om langdurig kijken en valy op door de bijzondere werking van het licht. Daphne is geinteresseerd in de mystiek en dynamiek van de multi-dimensionale werkelijkheid en het creatieve proce zelf. Zij studeerde aan de Koninklijke Academie voor Beeldende Kunsten te Den Haag. Haar werk is opgenomen in diverse prive collecties in binnen- en buitenland. Voor meer informatie zie www.daphnejansen.nl

Elisabeth van Vreeswijk (1955) finds her subject matter in the home environment: objects on a table or in the space of a room. Her paintings reflect her fascination with layering and transparency, contrasting decorative motives and the pictographic.

Van Vreeswijk also uses lithographic techniques. The specific characteristic of this printing technique offers her the possibility to work both in tiny detail as well as on a grander scale, allowing her to express herself freely painting and drawing on the stone. She carries out the printing process her self.

After completing her study at the Amsterdam Fine Arts Academy. She specialized in lithography under the auspices of Georg Hadeler. Over the last years painting has had her full attention. Sketches develop out of collages, which partly determine colour choices. Her choice of material – acrylic paint – dictates its own laws.

 

Anouk Schaedtler – Boellaard   started her career as an artist drawing and painting at the Arts Centre in Eindhoven, the Netherlands.

She soon realised that the essence of her work was better expressed using silkscreen printing techniques. It gives her the freedom to experiment with forms and colours. It also enables her to create the illusion of the actual look and feel of various materials.

The artist finds her inspiration in everyday forms and images.

By focusing on unexpected details her silkscreen prints acquire their exceptional composition.Anouk’s work is characterised by a feeling of spiritual freedom.

Her work has featured in major exhibitions and be shown in leading galleries throughout the Netherlands: Walls Gallery, Amsterdam (2007); Gallery Atelier Beeld , The Hague (2007); Gallery Helga Hofman, Alphen a/d Rijn (2009); Eindhoven (2006, 2008 and 2009) and Middelbeers (2007 and 2009).    

In het beeldhouwerk van Isabel Ruys staat de mens centraal. Het menselijk lichaam, maar ook de (karakter)eigenschappen van de mens zijn een oneindige bron van inspiratie. De interactie tussen mensen onderling of tussen mens en dier vormen ook een onderwerp.
De bronzen beelden worden in beperkte oplage (6 of 8) gegoten. Verder zijn het unica gehakt uit steen of hout.
Beide beeldhouwtechnieken, hakken uit steen en boetseren, zijn heel verschillend, maar vormen een goede aanvulling op elkaar en bieden elk verschillende mogelijkheden om tot expressie te komen. Het belangrijkste karakteristiek van elk van de  beelden is, dat het emotie oproept en dat het uitnodigt tot aanraken.