Thijs Jansen
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All Inclusive, 2021
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Carbon based lifeforms, 2021
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Product Placement, 2021
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Stretcher, 2021
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Self-reflection between 16 and 17
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Self-reflection between 13 and 14
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Self-reflection between 14 and 15, 2018
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Zelfreflectie tussen 21 en 22, 2020
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Zelfreflectie tussen 10 en 11, 2016
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Zelfreflectie tussen 22 en 23, 2020
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Zelfreflectie tussen 23 en 24, 2020
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Avondlucht, 2014
The perhaps surprisingly small size of Jansen's panels does not mean the works can be viewed with a cursory glance. On the contrary. The viewer wishing to take in all the details - how the light falls, the perspective, the spatial composition, the motifs or the varied painting techniques - of his precisely created compositions, will have to stop and take their time. "This format is a means of forcing a deeper level of concentration," says the artist.
In his most recent works we see two directions that seem to be each other's very opposite. His claustrophobic paintings of elevator interiors, their doors shut, reflecting nothing but a fluorescent sheen. These paintings, all executed during the pandemic, carry the weight of that hemmed-in year. In his latest work however he clearly takes a lead on our regained freedom in bright and colorful paintings. In his contemporary take on genre painting the theme of human contemporary existence is ironically and ambiguously depicted. His everyday subjects, which sometimes even appear banal or vulgar, are depicted in such a way that the 'ordinary' is transcended. Theatrical use of light, decor-like stages, unusual perspectives, either the lack of human figures or the stiff appearance of the human being; all add to an alienating effect, and seems to make way for multiple interpretations. In 'All Inclusive' we see a floating flamingo party island as posted so often on Instagram by so-called influencers or celebrities. We see people of all color and nations sitting together in this vibrant pink toy. What brought them together? Are they connecting, enjoying themselves? Involuntarily we might think of boat refugees and might ask ourselves if we can ever look at people sitting in inflatable boats without the association of those horrific images. By consciously dealing with the viewer's perspective, it seems that the viewer is partly responsible for what exactly is depicted. Involving him in the position of voyeur or unwanted witness in the work creates astrange kind of complicity with regard to the meaning of the painting. While looking at his work, the painted object itself plays an equally important role as the illusion of the space it depicts. The relatively small size of the panels automatically invites you for a close inspection. As soon as you approach, you're being forced to experience the material and transformational character of the paint. Instead of a better understanding of the subject, you become aware of the object, the painted piece itself. Looking at the paintings of Thijs Jansen requires an effort on the part of the viewer, not least to answer the question of what is actually being portrayed. Jansen seems to fully trust that we as viewers are partly responsible for what we see and with this he is constantly looking for a balance between illusion and projection.
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THE PINK EDITION
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Untitled Art, Miami Beach 2021
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Art Rotterdam
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EXPO Chicago Online
8 - 12 Apr 2021We're thrilled to participate in @expochicago's #ExpoChgoOnline, a curated digital exposition of contemporary and modern art and culture showcasing focused presentations by leading galleries presented in collaboration with Hook, highlighted...Read more -
UNTITLED, ART online
2 - 6 Dec 2020For invitiations to the online edition of UNTITLED, ART Miami Beach 2020, please contact us. We are happy to send you your virtual ticket to our exhibition. UNTITLED, ART is...Read more
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Thijs Jansen in Museum Jan Cunen, Oss
November 25, 2021Thijs Jansen | Kunst op de WC November 9, 2021 to March 27, 2022 at Museum Jan Cunen, OssWhen do you get closer to someone...Read more -
Thijs Jansen in Drents Museum
Minerva meets Leipzig October 8, 2021Works by artists from the Minerva Academy in Groningen and the Hochschule für Grafik und Buchkunst in Leipzig meet in the Drents Museum! In the...Read more -
Rutger Brandt Gallery in Artsy's top 10 Best Booths at EXPO Chicago’s Online Edition!
ARTSY, Justin Kamp April 9, 2021More than a year after the realities of the COVID-19 pandemic set in and art fairs around the world canceled their plans for the foreseeable...Read more