VISUAL ARTIST KEES VAN DE WAL
Kees
van de WalBorn Oirschot, 1967 · Based Zaltbommel · River Waal
He stopped painting the horizon. That decision led to everything — to shapes that represent nothing yet mean everything, to wall objects made from old packaging cardboard, to a quiet, rebellious practice in the spirit of Arte Povera and Concrete Art.
a shape that represents nothing,
yet means everything. Kees van de Wal
Greatest inspirations
and influences
Years ago I painted tranquil landscapes — inspired by the river landscapes and the Wadden area, the open wetland in the north of the Netherlands. The landscapes I painted quickly started to change into divisions of horizontal planes with occasional suggestions of clouds and vegetation. Tranquility, space, and stillness were important themes.
I realised that the landscape was no longer the objective. So I told myself to stop painting the horizon. That was the moment I started to abstract. This ultimately led to the shapes and objects I make today. It is purely about the shape, the matter, and the colour. I have completely let go of the point of origin.
Old drawings and collages I made in kindergarten have been influencing my work this past year. The direct, unfiltered quality of that work really appealed to me. It made my practice a lot more free, spontaneous, and joyful.
Although tranquility, space, and stillness remain very important themes.
The creative
process
When you make non-figurative art, there are no inherent boundaries or frameworks — which is why it is important that I give myself assignments and instructions. I decide what the framework is in which I want to operate.
I usually work in phases of three or four months. I start with small works, try new things, gain new insights — which always build on earlier periods. One work always inspires the next. I slowly move toward bigger works, and I see themes arise within sets of works.
I never used to give my works titles because I thought they would guide the viewer too much. But I have been titling my works for a few years now. I like titles that are plainly descriptive. No poetic titles that are emotionally charged. The title tells the viewer what they see, what it is, or tells something about the shape and the colour:
My goal is not to create art that everyone likes — quite the contrary. It is perfectly acceptable if it challenges people. My work can be slightly rebellious.
The Material. The Matter.
From XPS foam to old packaging cardboard — poor materials, autonomous results.
From tranquil river landscapes to pure horizontal planes — the progressive abandonment of reference. Tranquility, space, and stillness as the only subject.
Three-dimensional works cut from extruded polystyrene foam. Pure shape, pure matter. In line with minimalism and the silence of concrete art — the work refers to nothing outside itself.
The fold lines and damage of the material become part of the work. This 'poor' material — treated with surprising colour tones and interventions — takes on a new, autonomous character. Modest and informal. Arte Povera honesty.
The pandemic.
The world.
Initially I was able to concentrate on my work better because of the lockdown. Unfortunately I was not able to work for six months after that because of some health issues. I started again in the autumn of 2021.
The pandemic doesn't influence the content of my work. The world is changing — we lose many of the securities we once had, it is becoming harder, and many things are polarising more and more. I realise that life in the Netherlands is good and I am happy that I get to spend much of my time on my art.
My quest satisfies me very much.
Wellbeing.
Icons.
Happiness.
I don't really have any heroes or icons. I respect anyone who tries the best they can and loves the people around them, their surroundings, and the world. Everyone does things their own way.
Wellbeing means finding joy in what I do and staying healthy. I choose to spend more time in my studio making art instead of making money. I try to have a healthy lifestyle and I am happy that way.
I don't need much to be happy.
I believe in my search and follow my own process. At the moment, this is what I make. In an age of excess, I hope my work offers a place for peace, attention, and contemplation.
to each other.
