Exhibition Salentijn & Zyga
Exhibition Kees Salentijn and Marek Zyga
The very first duo exhibition in our brand new gallery shows the colorful paintings by Kees Salentijn and the impressive sculptures by Marek Zyga. You can admire this exhibition from August 29 to October 4, 2020 at Van Loon Galleries. Will we see you again soon in our brand new gallery?
Marek Zyga (Poland, 1968)
As a sculptor, Zyga has a fascination for people, their bodies and behaviour. The sculptures are like processed images from reality, to a certain extent they are stories. Ideas take shape, after which he sculpts in clay and forms in plaster.
Marek Zyga was trained as a ceramist in the Polish city of Boleslawiec and has many years of experience working in all kinds of ceramics. He has an incredible interest in the rough structure of this material and is attracted by the great possibilities this clay offers him. By exerting pressure on it, making casts and modelling, the artist plays with the great diversity of this product. By using different techniques, he gets a large structural difference in the clay. He decorates his sculptures with angobami, pigments and glaze.
Marek Zyga’s sculptures relate to classical sculptural forms with sometimes a touch of surrealism. He sees the letters, numbers and interpretations that Zyga places on his images as a moving part of a fascinating and mysterious world, while one does not clearly know where it comes from and where it is going, but it perfectly reflects what we are.
Kees Salentijn (Netherlands, 1947)
In addition to lines,
Salentijn uses more and more abstracted boxes to put together figures and their surroundings. Bunches of angular or round shapes with drawn patterns and decorations represent the garments with which he composes men, women or children. Patterned patches, blocks of color and quick splashes of paint form the foreground and background. They suggest a flower garden, sidewalk or wallpaper, clouds or simply the sky. In his distinctive colourful style, he shows us his view of Spanish culture. In art, according to Kees Salentijn, the use of one material is not necessarily better than another; as long as the means serve in the total. He even bases his style more or less on the denial of it. For example, one day he can work naively childishly and the next day figuratively classical or expressively abstract, whereby he makes no distinction between painting, drawing or making a collage.