Gijs Assmann | Marlies Appel | David Bade | Merina Beekman | Simon Benson | Dineke Blom | Marcel van Eeden | Otto Egberts | Helen Frik | Rosemin Hendriks | Tjibbe Hooghiemstra | Nour-Eddine Jarram | Natasja Kensmil | Juul Kraijer | Ronald Noorman | Erik Odijk | Roland Sohier | Elly Strik | Dieuwke Spaans | Juliette Tulkens | Piet Tuytel | Hans de Wit

Arno Kramer

about drawing   1|2|3|4   Each drawing also carries the history of its creation with it. Much more than in any other discipline of art, a development can usually be seen in a drawing. Often we can even experience and look back step-by-step on how a work has come into existence. The drawing is the medium, which most demystifies art as it were. That demystification especially means making visible that a mystery does not lurk behind everything, a mystery as a deity, the enigma of nature, the magical thinking or a conspiracy of the things, which has never been defined before. Everything arises from manís behaviour. You can look at that in a fairly business-like way, the way you look at the stars and everything surrounding us, but we can also be surprised at all of that. For example at the beauty of a drawing; that beauty is not the same thing as the drawing itself. Beauty is not a fact, it is rather an experience, a perception. The subtle impression that much contemporary drawing makes can only be achieved through our imagination. That imagination is the only phenomenon in our existence that bridges the gap between the once-only personal experience and the general shared experience that is present in each individual. In our culture the imagination makes for a balance on the borderline of myth and ethos. The drawing has undergone an interesting evolution in the course of many centuries. The drawn image existed before language did, and in meaning it has continued to remain part of life in an entirely different way. The drawing has developed from a possibility to communicate through images, as a precursor of that language, to the autonomous artistic expression it has now become. It has taken a long time, incidentally, for the drawing to acquire that meaning. Nowadays it is the visual artist in particular who gives meaning to the drawing in its purest form. That artist is also the medium through whom the drawing exists and through whom the drawing continually lives and keeps developing. Each line, each flat surface, in short each drawing always contains primary information. Usually no corrections can be made in a drawing. >