Giulia Resti

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Lincoln w Zmierzchu Niebieskim przynosi jedną z najbardziej rozpoznawalnych sylwet historycznych na głęboko niebieskie szkło lustro, wysoki cylindrowy kapelusz i wychudłą, brodatą postać, której kształt nie utrzymuje farba ani tusz, lecz pole pojedynczych znaków wyr scratched into the surface itself.

Lincoln in the Blue Hour brings one of history's most recognisable silhouettes into deep blue coloured mirror glass, the tall stovepipe hat and the gaunt, bearded profile held not by paint or ink but by a field of individual marks scratched into the surface itself.

The face is not printed onto the glass, it is taken from it, formed through removal rather than addition, so what the eye reads as light is really the surface catching and returning it. Up close the portrait dissolves into a field of fine scratches, unreadable as anything but texture, and only from a distance does Lincoln return, monumental and still.

Blue is the colour of dusk, of distance, of the hour when a familiar face starts to soften into memory rather than fact, and here it wraps a president whose likeness has been copied so often that the man himself can feel almost abstract. The scratches keep just enough, the brow, the beard, the weight in the eyes, to hold him present without pretending to hold the whole man.

Around and through that face the room itself appears, walls, light fixtures, the visitor standing in front of the work, all folded into the blue depth of the glass. The viewer is never simply looking at Lincoln, they are standing inside the same reflected space as him, briefly sharing his frame.

Light does not create this image. It sharpens it. The portrait is always present in the surface, and under a directed light the marks catch and the contrast deepens, but nothing here appears or disappears, only the room around it keeps changing while the man himself stays fixed in blue.

Lincoln in the Blue Hour continues the Art on Mirror series by Tijs Dragtsma, in which scratched imagery is set into coloured mirror glass and the viewer becomes part of the work. A visual language where damage is not destruction, but structure, and where the mirror turns looking into taking part.

"Some faces are not remembered, they are held."

About Art on Mirror – Blue

Art on Mirror is a body of work in which the image is scratched into coloured mirror glass, and the world in front of the work becomes part of it. Every line is cut into a deep blue mirrored surface of acrylic glass. The scratches are always there, bright against the colour, while the surface around them keeps reflecting the room, the daylight and the person looking.

From a distance the image reads clear and complete, a pale figure held in a field of blue. Step closer and the work opens into a delicate web of individual marks, fine and deliberate, each one essential to the whole. Behind and between them the mirror does what a mirror does. It carries the room and the viewer into the composition, so the surroundings in the work change with the place where it hangs, while the image itself stays firmly in place.

Light does not create the image. It sharpens it. The blue ground absorbs and reflects, the scratched lines catch and hold, and under a focused spotlight the contrast deepens until the figure takes on a sculptural, almost luminous quality. In softer light the colour comes forward and the work settles into a quieter register, without ever losing its subject.

Blue is the colour of night, of deep water and of quiet distance. That is the emotional ground every work in this series is set against, and the subjects are chosen to belong to it.

Art on Mirror continues the scratched imagery of Art with Scratch by Tijs Dragtsma on a new ground. Where the black works draw their power from absence, these draw it from reflection. The viewer is no longer only looking at the work. The viewer is in it.

About the Artist

My name is Tijs Dragtsma, founder of TD Fine Art Studio.

As an artist, I am driven by a constant desire to explore new visual languages. I do not see art as a fixed style, but as an evolving field of discovery where material, structure, light and emotion come together.

My work often begins with a simple question. How can a material speak in a new way. How can hardness become intimacy. How can precision create emotion. That search lies at the heart of everything I create.

Within TD Fine Art Studio, each body of work is approached as its own world, with its own logic, atmosphere and visual identity. Some works are built through rhythm, repetition and structure. Others emerge through absence, shadow, reflection or tension. What connects them is a shared commitment to originality, clarity and emotional presence.

I am fascinated by contrast. Between strength and fragility. Between control and feeling. Between what is visible and what is left open to interpretation. My goal is not simply to make an image, but to create a work that holds attention, invites reflection and continues to reveal itself over time.

TD Fine Art Studio is the space in which these explorations come together. It is not only a studio, but an evolving artistic universe shaped by curiosity, precision and the ambition to create work that feels distinctive, intentional and alive.

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Tijs Dragtsma (1992) - Lincoln in the Blue Hour

Technika mieszana - sygnowany - 2026

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Tijs Dragtsma (Holandia, 1992) prezentuje Lincoln in the Blue Hour, oryginalne dzieło mieszane techniką na niebieskim i białym lustrzanym szkle, 51 × 51 cm, podpisane i datowane na 2026, sprzedawane z ramą.

Tijs Dragtsma (1992) - Lincoln in the Blue Hour

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Tijs Dragtsma (Holandia, 1992) prezentuje Lincoln in the Blue Hour, oryginalne dzieło mieszane techniką na niebieskim i białym lustrzanym szkle, 51 × 51 cm, podpisane i datowane na 2026, sprzedawane z ramą.

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