Triple A


Nayul Kim approaches painting through the medium of virtual reality. In 
VR Kim sculpts objects and space from memory that refer to craftsmen 
designs and/or other artists work. These references function mostly as a 
starting point that allow her to explore the immaterial world of VR and 
focus on differences in medium specificity. Sculpting in VR results not 
in a bodily form but works through bodily experience. Transformed into 
painting this experience becomes memory and the start of unlimited 
remediation. The work of Daniel Hofstede is testament to the idea of the 
artist as scavenger, collector, recycler and interpreter. The use of 
discarded pillowcases, amateur flea market art and paintings done by his 
grandfather are for instance reflective of Hofstede’s desire and ability 
to tell stories. Hofstede is a collagist adopting display techniques to 
create novel frames of reference. Self made elements interact with found 
and repurposed objects holding their own histories. Combined they become 
anchored in new narratives. Marc Oosting’s work benefits from the 
strategy to deploy artistic decisions made by others. To be free you 
have to limit freedom. To decide to limit the responsibility of a lot of 
decision making you can be free. Appropriating designs for his paintings 
from tiger carpets made by craftsmen hundreds of years ago or embracing 
the shape of oak leaves found on his walks, Oosting created a niche for 
himself where play and intuition can thrive.