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Academy Industriele vormgeving Eindhoven 1971-1972
” Reflection” , so dubs Vanhorck ( Tegelen , 1952) a series of new work that emerged from an abstract approach . In the set up in grand gestures canvases to find reflections in glass, windows are traces , traces of landscapes and urban architecture . Shape, color , rhythm and sound composition are the basic elements that these paintings are composed . A stay in the U.S. has Vanhorck do strike a new path. The recent work is liberate from two principles , namely : the abstraction and abstract works figuratie.Uitgangspunt for the gesture , the shape / the white areas at the beginning of a new painting . These are the expression of the gesture . From there, Vanhorck structure , shapes and colors to enhance expression, there must be an overall picture emerged. Vanhorck the period in the U.S. experienced as a liberation, detached from his surroundings , he came to a different approach to the subject and this is also the work that is liberate from the configuration , greatly influenced . In his figurative work is the human form once more present than before. Tried Vanhorck previously as it were, Painting out the figure to abstraction to come , now there is clearly a tension between the realistic down seated man and abstract background . Vanhorck tries by means the figure to express emotion and this emotion is enhanced by shapes and colors in a background that intentionally and rhythm still reminiscent . an interior The figures are always in the shade or are turned away from the viewer . Through this anonymity is the important background and the viewer is offered the opportunity to add something to the painting
the eye scans reality
1978 – 1983
to learn to know the people and things around you it is absolutely imperative to look for a long time and with great patience. with concentration vanhorck’s eye scans the subjects he is painting in this period. he practises a realism that tries to capture and visualise reality deeper than the skin.
the turning point and the way inside
1984 – 1989
with vanhorck focussed attention leads to self-reflection and to a greater inner awareness. the painter becomes more explicitly aware of the act of painting itself. at this point he starts out on a road that leads inwards. as a result the sensuous reality he was capturing and in a sense fixated in his canvases becomes ‘mobile’. the abstract in depth structure of reality starts to become visible in all its oppositions and contrasts.
the search for structure
1990 – 1995
observing what is going to develop out of the tension and turbulence, is the attitude, characteristic for this period. patience, followed by a discovering of the relations that, though hidden under the surface of things, in the end do create a fundamental order and structure. vanhorck is searching for foundations, and slowly develops a tighter grip on them.
the anatomy of foundations
1996 – 2001
vanhorck realises that real insight cannot be combined with an all too strong grip on things that in this way are no longer allowed to ‘speak’ for themselves. he lets loose and lets go, observes with astuteness and waits to see if the turbulence of line and colour will spontaneously manifest relations.
the supporting power of the story
2002 – 2007
the course of his work intuitively leads vanhorck in the direction of the place where the foundations of a society can be found. the mythology of a country or a time shows itself to be structure of society embodied in sound and image, accessible to everybody but also supported by a powerfull skeleton of concepts and thoughts.
from mythe to clear concept
2008 – present
the analysing of the myths that givestructure and support to a society, spurs vanhorck onwards to liberate concepts ever more clearly from their narrative ‘shells’, and grasp them with the mind. now he combines his former intuitive approach with sharp and clear thinking. in this way he enters upon a new, more integrated and richer phase of his work.