Sigmund de Jong [*1962 · NL] o.T., 2018.

seidenmatt Latex auf 350g Papier, 28 x 22 cm. 15 + 3 E.A.

(…) “the image that is referring to itself, represents an ideological starting point. As part of our awareness process, it stimulates and sharpens the experience of light, space and time. Sometimes as a critical, independent commentary, but above all as the materialization of the believe in beauty and quality.”
Sigmund de Jong

750 € net

Speaking from my background as a painter, certain conditions can be radically altered, to the point where the physical space itself becomes a piece of artwork. Suddenly you have to equate measurements, built structures and, naturally, light into the decision making. Ultimately, these environmental factors play into where and to what measure an idea is fleshed out. Once the paint is applied directly to the wall, the resulting work is subjected to the attributes of the room, augmenting it and interacting with it in the process.

Wall-Concepts The self-referencing image speaks a language which can be both ideological and spiritual. With roots burrowed deeply in Northern European art, self-referencing images tend to amplify our awareness of light, space and time. This plays a vital part in the way we perceive our own surroundings. Sometimes it elicits critical thinking, but to me personally, it’s all about materializing faith in beautiful and virtuous ways.

Besides realizing the Wall-Concepts, I’m preoccupied with the ongoing nexus of the painting as a separate spatial object. Monochrome colors aren’t necessarily applied as a result of an artistic thought process, but rather considered a unique snapshot within an architectural framework. This requires the use of industrial materials and specific paint types. The goal is to highlight the inherent quality of a certain image or space. I strive for a concentrated, crystal clear image in my work. Drawing from tangible concepts, I want to create pieces that are both evocative and topical. My creative process is distinguished by the use of simple work structures. Viable new equations will constantly be analyzed and investigated. This intermediate has generated projects like the Wall-Concepts, works which perpetually change and evolve when exposed to different architectonic circumstances. Contrary to applying shapes and lines, the use of color is deliberately less intrinsic by comparison. Gossamery grays blend and interchange with brighter colorings. The works are often executed in variable situations and scopes, allowing the art to make both very modest and highly formidable impacts.