A short introduction

 

The landscape, in its actual occurrence as well as found in art history, forms the common thread in the oeuvre of Stijn Cole. His work is inspired by the intensity of the light, the colours of land and the sky, the position of the horizon, the position of the viewer, and  the time element creating changes in all of  them.

Each work (be it painting, drawing, photography, sculpture or installation, be it abstract or figurative) has to be perceived as a simple documentary registration of a place and a moment, even if it evocates foremost a universal beauty, and even if  it seems closely related to his personal life and experiences. “I am documenting my time, without telling stories”.

 

 

Colorscapes

 

Colorscapes are abstractions of images of a landscape. The colors are mathematically ordered from light to dark, in 16 lines of 16 colors each. Starting from a digital chart, Cole translates the colors in oil paint. The act of painting is reduced to its purest form: the mixing of colors.

The colorscapes are mostly made in series using time-lapse registrations with an interval of 30 minutes. They reveal the evolution of colors as seen from the same point of view during a certain period of time period (a sunrise, a sunset, or another time of day). Colorscapes can be related to a road trip, showing different places and impressions based on a travel line.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Finistère / Fisterra 2016.

This work is based on a trip to Fisterra, the legendary endpoint of the pilgrim roads to Compostella. It shows a left view, front view and right view over the sea from one point of view.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Timescapes

 

The Timescapes are photographic abstractions of time periods. A camera is set up to take pictures of a landscape, one picture per minute. Each picture is imported in a computer program and reduced to a narrow band with two colors: the average color of the sky and the average color of the land. All the pictures together form an abstract timeline of timescape. These works reveal the ever-changing intensity of the light and the colors.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This installation shows 60 timescapes made on 60 consecutive days during the summer of 2016. Each timescape covers a period of 5 hours, from 19:00 until 24:00. The works capture the evolution of light and colors in the landscape as a result of ever changing weather conditions. The viewer can also observe how the days are getting shorter towards the end of summer.

The picture above was taken at the Raveelmuseum, where the work was presented in combination with “60 working days, summer 1976”  by Marthe Wéry.

 

 

In October 2015 Stijn Cole was on residency in Montreal (Canada). He made 5 timescapes and 18 colorscapes that register the fall in the hills around Montréal, with leaf colors changing from green to red and brown.

 

 

Drawings

 

Cole’s fascination for conceptual and minimal art led to his first major series of drawings where he draws the same landscape twice, each from a slightly different perspective, by taking two steps aside. When exhibited the drawings are presented next to each other at a distance equal to the two steps. Cole applies a particular way of drawing with repetitive patterns made by only one pencil. His unique handwriting invites the viewer to come closer and to perform the ‘two steps aside’ act of the artist.

 

 

 

The series ‘Two Steps Aside’ consists of 6 monumental drawings (120x190cm each), made on a road trip from Texel (Holland) to the ancient woods of Bialowieza (Poland). A journey from culture  to nature. The park of Branitz is on the geographical middle of the trip.  For Cole it is also the conceptual middle, as the Branitz park was the first on the European continent that was especially designed to be experienced by foot, offering constantly changing new views. In Branitz the artist selected 3 places to make the Two Steps Aside drawings. One step in the direction of Texel, one step in the direction of Bialowieza - towards culture and nature, towards the ordered and the wild.

 

 

Blue prints

 

In his Blue print series, Cole was inspired by a very expressive form of nature, the rolling of the waves. The works are composed of two images of a wave with a split second in between. The first image is printed in blue on paper, the second image is printed in black on a Plexiglas plate and is mounted 2 centimeters in front of the first image. Again these works document the lapse of time through nature phenomena in all their beauty.

 

 

Sculptures

 

In order to create truthful documentary registrations, Stijn Cole often works in a scale of 1:1.

For his most recent project he reproduced the landscape in a most direct way,  by molding the surface of the land and reproducing it as sculptures in wax or per maché. The work was made on the Mont Sainte Victoire (France), a hill that was painted many times by Cézanne. These paintings where a landmark in modern art and Cole uses them as landmarks in his exhibitions as well.

The materials wax and paper maché were chosen because of their fragility and transience, as a   reflection of the flow of time.

 

 

   Stijn Cole

 

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A short introduction

 

The landscape, in its actual occurrence as well as found in art history, forms the common thread in the oeuvre of Stijn Cole. His work is inspired by the intensity of the light, the colours of land and the sky, the position of the horizon, the position of the viewer, and  the time element creating changes in all of  them.

Each work (be it painting, drawing, photography, sculpture or installation, be it abstract or figurative) has to be perceived as a simple documentary registration of a place and a moment, even if it evocates foremost a universal beauty, and even if  it seems closely related to his personal life and experiences. “I am documenting my time, without telling stories”.

 

 

Colorscapes

 

Colorscapes are abstractions of images of a landscape. The colors are mathematically ordered from light to dark, in 16 lines of 16 colors each. Starting from a digital chart, Cole translates the colors in oil paint. The act of painting is reduced to its purest form: the mixing of colors.

The colorscapes are mostly made in series using time-lapse registrations with an interval of 30 minutes. They reveal the evolution of colors as seen from the same point of view during a certain period of time period (a sunrise, a sunset, or another time of day). Colorscapes can be related to a road trip, showing different places and impressions based on a travel line.

 

 

Finistère / Fisterra 2016.

This work is based on a trip to Fisterra, the legendary endpoint of the pilgrim roads to Compostella. It shows a left view, front view and right view over the sea from one point of view.

 

 

Timescapes

 

The Timescapes are photographic abstractions of time periods. A camera is set up to take pictures of a landscape, one picture per minute. Each picture is imported in a computer program and reduced to a narrow band with two colors: the average color of the sky and the average color of the land. All the pictures together form an abstract timeline of timescape. These works reveal the ever-changing intensity of the light and the colors.

 

 

 

 

This installation shows 60 timescapes made on 60 consecutive days during the summer of 2016. Each timescape covers a period of 5 hours, from 19:00 until 24:00. The works capture the evolution of light and colors in the landscape as a result of ever changing weather conditions. The viewer can also observe how the days are getting shorter towards the end of summer.

The picture above was taken at the Raveelmuseum, where the work was presented in combination with “60 working days, summer 1976”  by Marthe Wéry.

 

 

In October 2015 Stijn Cole was on residency in Montreal (Canada). He made 5 timescapes and 18 colorscapes that register the fall in the hills around Montréal, with leaf colors changing from green to red and brown.

 

 

Drawings

 

Cole’s fascination for conceptual and minimal art led to his first major series of drawings where he draws the same landscape twice, each from a slightly different perspective, by taking two steps aside. When exhibited the drawings are presented next to each other at a distance equal to the two steps. Cole applies a particular way of drawing with repetitive patterns made by only one pencil. His unique handwriting invites the viewer to come closer and to perform the ‘two steps aside’ act of the artist.

 

 

 

The series ‘Two Steps Aside’ consists of 6 monumental drawings (120x190cm each), made on a road trip from Texel (Holland) to the ancient woods of Bialowieza (Poland). A journey from culture  to nature. The park of Branitz is on the geographical middle of the trip.  For Cole it is also the conceptual middle, as the Branitz park was the first on the European continent that was especially designed to be experienced by foot, offering constantly changing new views. In Branitz the artist selected 3 places to make the Two Steps Aside drawings. One step in the direction of Texel, one step in the direction of Bialowieza - towards culture and nature, towards the ordered and the wild.

 

 

Blue prints

 

In his Blue print series, Cole was inspired by a very expressive form of nature, the rolling of the waves. The works are composed of two images of a wave with a split second in between. The first image is printed in blue on paper, the second image is printed in black on a Plexiglas plate and is mounted 2 centimeters in front of the first image. Again these works document the lapse of time through nature phenomena in all their beauty.

 

 

Sculptures

 

In order to create truthful documentary registrations, Stijn Cole often works in a scale of 1:1.

For his most recent project he reproduced the landscape in a most direct way,  by molding the surface of the land and reproducing it as sculptures in wax or per maché. The work was made on the Mont Sainte Victoire (France), a hill that was painted many times by Cézanne. These paintings where a landmark in modern art and Cole uses them as landmarks in his exhibitions as well.

The materials wax and paper maché were chosen because of their fragility and transience, as a   reflection of the flow of time.