A.Kuryszczuk

 

  • De vier seizoenen 1 Winter - Paintings - Acrylics on canvas - 090x140 - € 2158

    De vier seizoenen 1 Winter - Paintings - Acrylics on canvas - 090x140 - € 2158

  • De vier seizoenen 2 Lente - Paintings - Acrylics on canvas - 090x140 - € 2158

    De vier seizoenen 2 Lente - Paintings - Acrylics on canvas - 090x140 - € 2158

  • De vier seizoenen 3 zomer - Paintings - Acrylics on canvas - 090x140 - € 2158

    De vier seizoenen 3 zomer - Paintings - Acrylics on canvas - 090x140 - € 2158

  • Es war einmal - Paintings - Acrylics on canvas - 070x070 - € 1079

    Es war einmal - Paintings - Acrylics on canvas - 070x070 - € 1079

  • Es war einmal..... - Paintings - Acrylics on canvas - 135x075 - € 4600

    Es war einmal..... - Paintings - Acrylics on canvas - 135x075 - € 4600

  • Es war einmal..... - Paintings - Acrylics on canvas

    Es war einmal..... - Paintings - Acrylics on canvas

  • Maar onze liefde blijft altijd bestaan 2 - Paintings - Mixed Media - 030x040 - € 1079

    Maar onze liefde blijft altijd bestaan 2 - Paintings - Mixed Media - 030x040 - € 1079

  • Dear Annie - Paintings - Mixed Media - 100x100 - € 2697

    Dear Annie - Paintings - Mixed Media - 100x100 - € 2697

  • Im still a tourist - Paintings - Mixed Media - 065x115 - € 3297

    Im still a tourist - Paintings - Mixed Media - 065x115 - € 3297

  • Analyse Oriental - Paintings - Mixed Media - 035x035 - € 899

    Analyse Oriental - Paintings - Mixed Media - 035x035 - € 899

(Back to summary all artists)

INFO ARTWORKS

Click below on  artwork for more info artwork and to see more big

0102055152 - De vier seizoenen 1 Winter - Paintings - Acrylics on canvas - 090x140 - €2.158

0102055152 - De vier seizoenen 1 Winter - Paintings - Acrylics on canvas - 090x140 - €2.158

0102055153 - De vier seizoenen 2 Lente - Paintings - Acrylics on canvas - 090x140 - €2.158

0102055153 - De vier seizoenen 2 Lente - Paintings - Acrylics on canvas - 090x140 - €2.158

0102055154 - De vier seizoenen 3 zomer - Paintings - Acrylics on canvas - 090x140 - € 2.158

0102055154 - De vier seizoenen 3 zomer - Paintings - Acrylics on canvas - 090x140 - € 2.158

0102055185 - Es war einmal - Paintings - Acrylics on canvas - 070x070 - €1.079

0102055185 - Es war einmal - Paintings - Acrylics on canvas - 070x070 - €1.079

0102055239 - Es war einmal..... - Paintings - Acrylics on canvas - 135x075 - €4.600

0102055239 - Es war einmal..... - Paintings - Acrylics on canvas - 135x075 - €4.600

0102055240 - Es war einmal..... - Paintings - Acrylics on canvas - 075x075

0102055240 - Es war einmal..... - Paintings - Acrylics on canvas - 075x075

0106055122 - Maar onze liefde blijft altijd bestaan 2 - Paintings - Mixed Media - 030x040 - €1.079

0106055122 - Maar onze liefde blijft altijd bestaan 2 - Paintings - Mixed Media - 030x040 - €1.079

0106055181 - Dear Annie - Paintings - Mixed Media - 100x100 - €2.697

0106055181 - Dear Annie - Paintings - Mixed Media - 100x100 - €2.697

0106055182 - Im still a tourist - Paintings - Mixed Media - 065x115 - €3.297

0106055182 - Im still a tourist - Paintings - Mixed Media - 065x115 - €3.297

0106055224 - Analyse Oriental - Paintings - Mixed Media - 035x035 - €899

0106055224 - Analyse Oriental - Paintings - Mixed Media - 035x035 - €899

 INFO ARTIST

Annelore Kuryszczuk

Born

Residence

RThe Netherlands

Education

Royal Academy of Fine Arts, Antwerp, Belgium 1974 -1978

Masterclass Milan Kunc, Amsterdam, NL 1995

 Exhibitions

2011

·Gerhard Hofland Gallery, Amsterdam, NL; paintings

”1981-10-17 – 13.10”, Tetterode 30 year anniversary exhibition,

2011

·Open Studio, Amsterdam, NL; paintings

Presentation recent works

2010

·Aschenbach & Hofland Galleries, Amsterdam, NL; paintings

“Stand van Zaken: KUNST uit TETTERODE”

2008

·Tetterode, Amsterdam, NL; paintings

“Back stage – On stage”, and Open studios

2006

·Gallery Odessa, Ukraine; photography

“Your Future is in Your hands”

for Médecins Sans Frontières (MSF-NL)

2005

·Gallery Kiev, Ukraine; photography

“Your Future is in Your hands”

for Médecins Sans Frontières (MSF-NL)

2002

·Museum of Arts Odessa, Ukraine; photography

“Positive Lives” with John Ranard, Aleksandr Glyadyelov

and Anne-Lore Kuryszczuk

for Médecins Sans Frontières (MSF-NL)

2002

·Museum of Arts Lvov, Ukraine; photography

“Positive Lives” with Aleksandr Glyadyelov, John Ranard

and Anne-Lore Kuryszczuk

for Médecins Sans Frontières (MSF-NL)

2002

·International AIDS Conference, Barcelona, Spain; photography

“Positive Lives” with Aleksandr Glyadyelov, John Ranard

and Anne-Lore Kuryszczuk

for Médecins Sans Frontières (MSF-NL)

2001

·Center for Contemporary Arts, SCCA, Kiev, Ukraine; photography

“Positive Lives” with Aleksandr Glyadyelov, John Ranard

and Anne-Lore Kuryszczuk

for Médecins Sans Frontières (MSF-NL)

2001

·Oude Kerk, Amsterdam, NL; video

“Positive Lives”

Médecins Sans Frontières (MSF-NL)

2000

·Central Exhibition Hall of Academy of Arts of Uzbekistan,

Tashkent, Uzbekistan; paintings

“Ultramarine” solo

2000

·Second World Water Forum, The Hague, NL; photography,

with Ronald Kleijer and Anne-Lore Kuryszczuk

for Médecins Sans Frontières (MSF-NL)

2000

·Business Centre Gallery, Tashkent, Uzbekistan; paintings

1997

·Jos Art Gallery, solo, Amsterdam, NL; paintings

1996

·Art Yard Gallery, Amsterdam, NL; paintings

1996

·Tetterode “Tetterode 15 years”, anniversary, Amsterdam, NL; paintings

1996

·Stadsdeelkantoor Zeeburg, Amsterdam, NL; paintings

1995

·Aschenbach Gallery, Amsterdam, NL; paintings

1995

·Dr. Sarphatihuis, Amsterdam, NL; paintings

1995

·Gallery Jos Art, Amsterdam, NL; paintings

1995

·Arti et Amicitiae, Amsterdam, NL; paintings

1995

·Aschenbach Gallery, Amsterdam, NL; paintings

Masterclass Milan Kunc

1995

·Prinsengracht Hospital, Amsterdam, NlL; paintings

1995

·Art Yard Gallery, Amsterdam, NL; paintings

1995

·Open Havenmuseum, “Thuishaven”, Amsterdam, NL; paintings

1994

·Jos Art Gallery, solo, Amsterdam, NL; paintings

1994

·Art Fair Utrecht, Jos Art Gallery, Amsterdam, NL; paintings

1994

·Open Havenmuseum, “De Ontmoeting” Amsterdam, NL; paintings

1993

·Gemeentelijke Kredietbank, Amsterdam, NL; paintings

organised bij Gallery Van Wijngaarden

1993

·Open Havenmuseum, “Land in zicht” Amsterdam, NL; paintings

1992

·Gallery Van Wijngaarden, Amsterdam, NL; paintings

1992

·Gallery Valentine de Haan, Hoorn, NL; paintings

1992

·Oude Kerk, “Extra Dekkend”, Amsterdam, NL; paintings

1991

· Tetterode Amsterdam, NL; paintings

1991

“Tetter Ode” exhibition 10 year anniversary Tetterode, NL

1991

·Establishment of artist initiative “EXTRA DEKKEND”

1991

·KunstRAI, “Kunstgreep” Amsterdam, NL; paintings

1990

·Open Havenmuseum “Handbagage” Amsterdam, NL; paintings

1990

·“Art from Tetterode”, Amsterdam, NL; paintings

1990

·Art in Architecture, Amsterdam, NL; sculptures

1990

·Gallery De Voetboog, Amsterdam, NL; paintings

1989

·Gallery 408, Amsterdam, NL; sculptures

1989

·Open Havenmuseum, “De Ontmoeting” Amsterdam, NL; paintings

1988

·Marmeren Hal Tetterode, Amsterdam, NL; sculptures

1988

·Open studio, Tetterode, Amsterdam, NL; drawings and paintings

1988

·Metz & Co, Amsterdam, NL; sculptures

Curator of Exhibitions

2010

·Gerhard Hofland Galleries and Marmeren Hal, Amsterdam, NL

“Stand van Zaken: KUNST UIT TETTERODE”

2009

·Tetterode, Amsterdam, NL

Curator exhibition “Monumentendag 2009 Amsterdam”

and Open Studios

2002

·International AIDS Conference, Barcelona, Spain

Curator exhibition “Positive Lives”

for Médecins Sans Frontières (MSF-NL)

2002

·Museum Odessa, Ukraine

Curator exhibition “Positive Lives”

for Médecins Sans Frontières (MSF-NL)

2002

·Museum of Arts Lvov, Ukraine

Curator exhibition “Positive Lives”

for Médecins Sans Frontières (MSF-NL)

2001

·Center for Contempory Arts, SCCA, Kiev, Ukraïne

Curator exhibition “Positive Lives”

for Médecins Sans Frontières (MSF-NL)

Eduation

1974 -1978

·Royal Academy of Fine Arts, Antwerp, Belgium

1995

·Masterclass Milan Kunc, Amsterdam, NL

Collections

· Bank Brussel Lambert, Brussels, Belgium

· Erasmus University, Rotterdam, The Netherlands

· Médecins Sans Frontières, (MFS), The Netherlands

· Architectural Firm Van Stigt, Amsterdam,

The Netherlands

· Town Hall of Hokkaido, Hokkaido, Japan

· Verbond van Verzekeraars, The Netherlands

· Gallery Van Wijngaarden, Amsterdam,

The Netherlands

· G. Asselman – T. Reckman, The Netherlands

· G. Dijkstra, The Netherlands

. D. Jaeger, The Netherlands

. R. Kleijer, Uzbekistan

· J. van der Meer, The Netherlands

· A. Van der Meer-Leusink, The Netherlands

· I. Molicnick, Slovenia

· D. Van Moll, Belgium

· F. Mortier, Belgium

· G.J. Pijper, The Netherlands

· F. Slebos, USA

· R. Steyls, Belgium

· H. Sweeney – G. De Wildt, Great-Britain

· B. van Wensveen, The Netherlands

· I. Werner, Germany

Description

Anne-Lore Kuryszczuk’s work several aspects become immediately notable. One is that her work exudes an enormous clarity and another aspect is a reassuring surveyability or in any case, an aspiration towards this end. Indeed, it is remarkable how little empathy the observer needs to participate in this process. One presumes that she enjoys experimenting with elemental facets such as structure, line, direction, contrast, texture and light. And if we feel as if she is taking us on a journey to the world of Mondriaan and his artist descendants by the use of variability and interchangeability of features of these original great painters, there is perhaps another aspect to be aware of. And that is the search for truth, harmony and purity embodied in her art.

Another impression one gets when viewing her assembled work is that one finds himself in a kind of binary world. Certainly not the ever present world of soft- and hardware, the predictable logic of electronics, calculations, numbers, grids and pixels. On the contrary, hers is both a world of perceived sensitivity and polarity discovered in which this duality on many levels intuitively and manually are composed into organic image lines and frameworks. Indeed this duality which exists in her work is both elemental and fundamental. After all, it ultimately embodies the essential complement of all that is present: of the one which always bears the other out of a necessity for existence. But this existential precept is rather presented by the artist on the level of material and structure: there is no foreground without a background, no equality without inequality, etc. That is a prerequisite on this level of observation in order to be seen at all and indeed as it’s been said in German: “Was in die Erscheinung tritt, muß sich trennen, um nur zu erscheinen.” (what occurs in the appearance must just separate to be able to appear again). And so it seems a sparseness of modality if not of features. It goes without saying that it’s impossible to create a work of art with only one feature. Where there’s form, there’s scale, where there’s colour, there’s dimension, if there’s smoothness, there’s also texture, material then structure and so it goes on and on. But, one can try to achieve this effect. 
Confronted with such a consistent use of white and ultramarine, it’s practically inevitable that one thinks of the French artist, Yves Klein, and his IKB. There will also undoubtedly be viewers who associate this work with the glazed terracotta of the Renaissance artist, Luca della Robbia, in spite of the abstract nature of her work. So powerful is the use of white and blue wielded that this is the dominant force over any figuration.
But let us try to move beyond this sort of historical art association (since it is perhaps too gratuite) and take pause at the implications of this white and ultramarine and attempt to ascertain the effect these colours have on our capacity for observation and experience. And so one could reach the conclusion that “white is not a colour” provided that you believe in the idea of reçue (as my 6-year-old son does). In this sense, one might view Anne-Lore Kuryszczuk’s work in fact as being monochromes. (Here the word binary crops up: colour/no colour). Furthermore, one can philosophize endlessly about this but to continue on a more specific level, namely from the earlier-mentioned Klein, who claims that when looking at blue, at first there’s nothing, followed by a deep nothing and afterwards, an absolute depth. At this, one could reach the conclusion that Anne-Lore Kuryszczuk’s work, depending on the degree of depth to which one allows himself to be affected by the colour blue, can be experienced as one dimensional creations (lines) but also two dimensional (depth).
These paintings appear to be challenging us to ask ourselves how best to view them: as lines as in a text or as planes as in an image. (And as noted earlier, it’s also possible to view them as volumes). Most paintings are usually observed by letting one’s eyes roam freely around the structure created by the artist. Most texts are usually looked at by literally following the lines. This is done because a definite structure has been presented. Not until we follow the words line by line do we comprehend what the writer wishes to express in his composition. Adapting this point of view it might seem that Anne-Lore’s work would be conflicting. But, on the other hand, one seldom finds in a single glance just what the artist wishes to express. The observation of a painting or drawing is a repetitive process of synthesis and analysis: the first step is to view the overall image in a single glance and then to allow one’s gaze to glide over the paths where our eyes choose to take us. This process will continue and repeat itself. Most paintings are “deciphered” in this way. 
One gets the impression that Anne-Lore Kuryszczuk’s paintings are an invitation to “decipher” whereby unimpeded scanning coupled with following the lines with one’s eyes result in a between-the-lines observation. This is done in precisely the way one looks between the blinds.

Sharon Slebos, English translation.
Marc Geerards, Dutch text.

Mondriaan and Kuryszczuk: interfacing image lines

In Anne-Lore Kuryszczuk’s work several aspects become immediately notable. One is that her work exudes an enormous clarity and another aspect is a reassuring surveyability or in any case, an aspiration towards this end. Indeed, it is remarkable how little empathy the observer needs to participate in this process. One presumes that she enjoys experimenting with elemental facets such as structure, line, direction, contrast, texture and light. And if we feel as if she is taking us on a journey to the world of Mondriaan and his artist descendants by the use of variability and interchangeability of features of these original great painters, there is perhaps another aspect to be aware of. And that is the search for truth, harmony and purity embodied in her art.

Another impression one gets when viewing her assembled work is that one finds himself in a kind of binary world. Certainly not the ever present world of soft- and hardware, the predictable logic of electronics, calculations, numbers, grids and pixels. On the contrary, hers is both a world of perceived sensitivity and polarity discovered in which this duality on many levels intuitively and manually are composed into organic image lines and frameworks. Indeed this duality which exists in her work is both elemental and fundamental. After all, it ultimately embodies the essential complement of all that is present: of the one which always bears the other out of a necessity for existence. But this existential precept is rather presented by the artist on the level of material and structure: there is no foreground without a background, no equality without inequality, etc. That is a prerequisite on this level of observation in order to be seen at all and indeed as it’s been said in German: “Was in die Erscheinung tritt, muß sich trennen, um nur zu erscheinen.” (what occurs in the appearance must just separate to be able to appear again). And so it seems a sparseness of modality if not of features. It goes without saying that it’s impossible to create a work of art with only one feature. Where there’s form, there’s scale, where there’s colour, there’s dimension, if there’s smoothness, there’s also texture, material then structure and so it goes on and on. But, one can try to achieve this effect. 
Confronted with such a consistent use of white and ultramarine, it’s practically inevitable that one thinks of the French artist, Yves Klein, and his IKB. There will also undoubtedly be viewers who associate this work with the glazed terracotta of the Renaissance artist, Luca della Robbia, in spite of the abstract nature of her work. So powerful is the use of white and blue wielded that this is the dominant force over any figuration.
But let us try to move beyond this sort of historical art association (since it is perhaps too gratuite) and take pause at the implications of this white and ultramarine and attempt to ascertain the effect these colours have on our capacity for observation and experience. And so one could reach the conclusion that “white is not a colour” provided that you believe in the idea of reçue (as my 6-year-old son does). In this sense, one might view Anne-Lore Kuryszczuk’s work in fact as being monochromes. (Here the word binary crops up: colour/no colour). Furthermore, one can philosophize endlessly about this but to continue on a more specific level, namely from the earlier-mentioned Klein, who claims that when looking at blue, at first there’s nothing, followed by a deep nothing and afterwards, an absolute depth. At this, one could reach the conclusion that Anne-Lore Kuryszczuk’s work, depending on the degree of depth to which one allows himself to be affected by the colour blue, can be experienced as one dimensional creations (lines) but also two dimensional (depth).
These paintings appear to be challenging us to ask ourselves how best to view them: as lines as in a text or as planes as in an image. (And as noted earlier, it’s also possible to view them as volumes). Most paintings are usually observed by letting one’s eyes roam freely around the structure created by the artist. Most texts are usually looked at by literally following the lines. This is done because a definite structure has been presented. Not until we follow the words line by line do we comprehend what the writer wishes to express in his composition. Adapting this point of view it might seem that Anne-Lore’s work would be conflicting. But, on the other hand, one seldom finds in a single glance just what the artist wishes to express. The observation of a painting or drawing is a repetitive process of synthesis and analysis: the first step is to view the overall image in a single glance and then to allow one’s gaze to glide over the paths where our eyes choose to take us. This process will continue and repeat itself. Most paintings are “deciphered” in this way. 
One gets the impression that Anne-Lore Kuryszczuk’s paintings are an invitation to “decipher” whereby unimpeded scanning coupled with following the lines with one’s eyes result in a between-the-lines observation. This is done in precisely the way one looks between the blinds.

Sharon Slebos, English translation.
Marc Geerards, Dutch text.
Mondriaan and Kuryszczuk: interfacing image lines

In Anne-Lore Kuryszczuk’s work several aspects become immediately notable. One is that her work exudes an enormous clarity and another aspect is a reassuring surveyability or in any case, an aspiration towards this end. Indeed, it is remarkable how little empathy the observer needs to participate in this process. One presumes that she enjoys experimenting with elemental facets such as structure, line, direction, contrast, texture and light. And if we feel as if she is taking us on a journey to the world of Mondriaan and his artist descendants by the use of variability and interchangeability of features of these original great painters, there is perhaps another aspect to be aware of. And that is the search for truth, harmony and purity embodied in her art.

Another impression one gets when viewing her assembled work is that one finds himself in a kind of binary world. Certainly not the ever present world of soft- and hardware, the predictable logic of electronics, calculations, numbers, grids and pixels. On the contrary, hers is both a world of perceived sensitivity and polarity discovered in which this duality on many levels intuitively and manually are composed into organic image lines and frameworks. Indeed this duality which exists in her work is both elemental and fundamental. After all, it ultimately embodies the essential complement of all that is present: of the one which always bears the other out of a necessity for existence. But this existential precept is rather presented by the artist on the level of material and structure: there is no foreground without a background, no equality without inequality, etc. That is a prerequisite on this level of observation in order to be seen at all and indeed as it’s been said in German: “Was in die Erscheinung tritt, muß sich trennen, um nur zu erscheinen.” (what occurs in the appearance must just separate to be able to appear again). And so it seems a sparseness of modality if not of features. It goes without saying that it’s impossible to create a work of art with only one feature. Where there’s form, there’s scale, where there’s colour, there’s dimension, if there’s smoothness, there’s also texture, material then structure and so it goes on and on. But, one can try to achieve this effect. 
Confronted with such a consistent use of white and ultramarine, it’s practically inevitable that one thinks of the French artist, Yves Klein, and his IKB. There will also undoubtedly be viewers who associate this work with the glazed terracotta of the Renaissance artist, Luca della Robbia, in spite of the abstract nature of her work. So powerful is the use of white and blue wielded that this is the dominant force over any figuration.
But let us try to move beyond this sort of historical art association (since it is perhaps too gratuite) and take pause at the implications of this white and ultramarine and attempt to ascertain the effect these colours have on our capacity for observation and experience. And so one could reach the conclusion that “white is not a colour” provided that you believe in the idea of reçue (as my 6-year-old son does). In this sense, one might view Anne-Lore Kuryszczuk’s work in fact as being monochromes. (Here the word binary crops up: colour/no colour). Furthermore, one can philosophize endlessly about this but to continue on a more specific level, namely from the earlier-mentioned Klein, who claims that when looking at blue, at first there’s nothing, followed by a deep nothing and afterwards, an absolute depth. At this, one could reach the conclusion that Anne-Lore Kuryszczuk’s work, depending on the degree of depth to which one allows himself to be affected by the colour blue, can be experienced as one dimensional creations (lines) but also two dimensional (depth).
These paintings appear to be challenging us to ask ourselves how best to view them: as lines as in a text or as planes as in an image. (And as noted earlier, it’s also possible to view them as volumes). Most paintings are usually observed by letting one’s eyes roam freely around the structure created by the artist. Most texts are usually looked at by literally following the lines. This is done because a definite structure has been presented. Not until we follow the words line by line do we comprehend what the writer wishes to express in his composition. Adapting this point of view it might seem that Anne-Lore’s work would be conflicting. But, on the other hand, one seldom finds in a single glance just what the artist wishes to express. The observation of a painting or drawing is a repetitive process of synthesis and analysis: the first step is to view the overall image in a single glance and then to allow one’s gaze to glide over the paths where our eyes choose to take us. This process will continue and repeat itself. Most paintings are “deciphered” in this way. 
One gets the impression that Anne-Lore Kuryszczuk’s paintings are an invitation to “decipher” whereby unimpeded scanning coupled with following the lines with one’s eyes result in a between-the-lines observation. This is done in precisely the way one looks between the blinds.

Sharon Slebos, English translation.
Marc Geerards, Dutch text.

Video Annelore aan het werk:http://vimeo.com/44975006

Kunstwerken:www.youtube.com/watch?v=rUnkCVi87QI