Erik Oldenhof (1951) - Untitled





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Description from the seller
Erik Oldenhof - ZT - oil on canvas - 42 x 54 cm
Who pays close attention will quickly notice the intoxicating emotion in the work of Erik Oldenhof. But not immediately. After all, simplicity is the strength of the Amsterdam-based artist. In his line paintings he aims to achieve, with minimal means, a maximal painterly yield. That strength of constraint has been shown before.
As in Minimal Art and Fundamental Painting of the sixties and seventies of the last century. Oldenhof, however, takes a sizeable step further. If you take the trouble to crawl into the skin of his paintings you see that his focus on the painterly process is characteristic of all his work. Each painting must be read. In the compositions of recent paintings there are relationships with early graphic work and with training as a building draughtsman. In the use of color there are references to the work the artist did earlier in his father's whitewash shop. In canvases in which the thicknesses of the horizontal lines vary, landscape connotations are at hand. His paintings are about the process of painting, of overpainting, adding and omitting, surface and depth, light and shadow, drawing traces and causing derailments, creating order and the deliberate disturbance thereof. From a distance Oldenhof's canvases seem to consist only of strict, methodical and rational line structures. But up close the canvases hum and vibrate with their thick layers of paint exuberantly.
Irregularities and frayed edges emphasize that the abstract forms are not created by a machine, but by a human being of flesh and blood.
Seller's Story
Erik Oldenhof - ZT - oil on canvas - 42 x 54 cm
Who pays close attention will quickly notice the intoxicating emotion in the work of Erik Oldenhof. But not immediately. After all, simplicity is the strength of the Amsterdam-based artist. In his line paintings he aims to achieve, with minimal means, a maximal painterly yield. That strength of constraint has been shown before.
As in Minimal Art and Fundamental Painting of the sixties and seventies of the last century. Oldenhof, however, takes a sizeable step further. If you take the trouble to crawl into the skin of his paintings you see that his focus on the painterly process is characteristic of all his work. Each painting must be read. In the compositions of recent paintings there are relationships with early graphic work and with training as a building draughtsman. In the use of color there are references to the work the artist did earlier in his father's whitewash shop. In canvases in which the thicknesses of the horizontal lines vary, landscape connotations are at hand. His paintings are about the process of painting, of overpainting, adding and omitting, surface and depth, light and shadow, drawing traces and causing derailments, creating order and the deliberate disturbance thereof. From a distance Oldenhof's canvases seem to consist only of strict, methodical and rational line structures. But up close the canvases hum and vibrate with their thick layers of paint exuberantly.
Irregularities and frayed edges emphasize that the abstract forms are not created by a machine, but by a human being of flesh and blood.

