An expert at archery, who lived in the 16th century, once explained how one could see the wind. He stood in an open field and noticed how snow was lifted from the frozen ground and transported by the wind, sometimes in one broad sweep and then again scattered in all directions, moving fast or slowly drifting down.
Certain paintings from 17th century Dutch masters suggest experiences and sensations, which just like the
wind, are impossible to convey in a realistic image. I see it for instance
in the obscure background of Gerard Dou’s The Young Mother, in which shapes slowly emerge from the deep recess,
in the way in which light in Rembrandt’s The Syndics is dispersed over the hands, book and tablecloth,
in the monochrome backdrop of Gabriël Metsu’s A Cavalier Visiting a Blacksmith’s Shop,
which on closer look contains myriads of objects and nuances of colour,
in the vertical arrangement of colors on Frans Hals’ Portrait of Aletta Hanemans,
in Pieter de Hooch’s The Country Cottage which seems to usher the viewer into the painting’s gentle light.
These are a few examples of paintings that to me are solidly grounded yet at the same time spiritually free; concrete and abstract. They are grounded (which is different from realistic) and they create space – for me to make images of my own.
The pictures for De Salon are mainly fragments and digital adaptations of paintings: as they are functional in my studio. They are interspersed with my own drawings, work sketches and photos.
For more information on Dineke Blom, please visit her website