Welcome at the updated website of Jaap Goedemoed Artworks!
The website has been updated in May-June 2020 with new contributions in Artworks (new 2019 artwork), in Introduction (new info on the 2017 sea balls artwork) and in Additional Information (new translation of interview with artist).
It is reminded that all artworks are described. Please use the text symbol in orange, when the enlargement of the artwork is on the screen, by moving the cursor at the lower side in the right corner on this text symbol and click, and the artwork will turn around showing a short description of the artwork.
When stated “In private collection” the artwork is already sold and not available. If not stated, the artwork is still available for sale. Please send a message in Contact if there is an interest in a specific artwork, and the asking price will be given. In principle all larger artworks
(> 100x100cm) are still available for sale. All available artworks can be viewed in Amsterdam.
A message can also be send if someone has a nice exhibition space and would be interested to exhibit all artworks, in Europe or the USA. If the space is large enough and there would be additional interest in it, also the related Kuba textiles and Oceanic ethnographics (e.g., Asmat and Mimika objects), and the related Frank Lodeizen artworks, could be exhibited together with the artworks, for creating a nice mixed exhibition.
A new exhibition of Jaap Goedemoed artworks was originally scheduled during 1-31 September at the San Galgano Abbey in Tuscany, not far from Siena, Italy. Due to Corona the exhibition cannot be held in September. Efforts are aiming to postpone the exhibition to Spring 2021. A message will be given in due time.
Thank you for taking notice of this information and thank you for visiting this website!
A typical Goedemoed
It is more than thirty years since Goedemoed (De Bilt, the Netherlands, 1956) began making art, not always full-time, but always with enthusiasm and ambition. If it were possible to view his works of those years hanging alongside each other, strolling leisurely past them – first close up, then from a slight distance, you would see the development in the themes, techniques, materials, colors, and size. But every one of these works could be called
a typical Goedemoed; carefully thought through, balanced and compelling. These are images with a lasting echo.
Jaap became acquainted with graphic techniques such as etching and silk-screen printing at higschool.
He was a keen and valued student during drawing lessons but only began painting on canvas seriously after finishing his studies. These were figurative paintings, first in oils and then in acrylics. Characteristic of these first steps are
canvases with a flat scenery, painted in 1984 (1), and with a deep perspective, painted in 1985 (2).
The flat division of the plane is inspired by and referring to Mondrian, the impossible construction of walls to M.C. Escher, the hieroglyphics to ancient Egypt. In his free time (he was now working as a qualified pharmacist), the young Goedemoed focused on figurative works, often with a symbolic significance. At this time he also experimented with different materials, including linen tape and modeling paste.
As a result of a process that started in earlier years, 1990 was perhaps a turning point in Jaap’s artistic development. His work demonstrates less symbolism and the figurative themes are replaced by abstract images and strong attention to detail. These elements still define and characterize “a typical Goedemoed”.
Regarding the wooden plank (60x200cm)(3) from 1990, partially covered with linen tape, once again the influence of Escher appears: lower and upper side reveal identical structures, a development of changing patterns which return to their original shape, forming a metamorphosis. In this work ethnographic influences can be observed for the first time, e.g. emphasizing of the patina of the wood. Jaap finds much inspiration in ethnic art, which he has collected fervently since settling in Amsterdam.
The colors and geometric patterns of the dance shawls and garments of the central Kuba Kingdom in Africa are an important source of inspiration as in Changing pattern with opening I (1990) (4), which is based on a fragment of a Ngongo woman’s dance shawl.
That year, the artist used this image for the cover of his thesis. In these and later paintings, Goedemoed has been guided by shapes inspired by the human spirit, like the African patterns, and those generated by computer. For this theme, Jaap is indebted to Douglas R. Hofstadter, author of Gödel, Escher, Bach. Having a precise mind, Goedemoed is fascinated by this book and Metamagical Themas by the same author.
This brought him to computer-generated patterns and subtle deformations and transformations. The mathematical orders and theirvariations are features of his later works.
During the early nineties, there was also an undeniable influence of Amsterdam artist, Frank Lodeizen.
Jaap met the flamboyant Lodeizen while visiting one of his exhibitions and Lodeizen showed him a painting technique involving a mixture of acrylic paint and arabic gum. After drying, when the gum has crystallized, the mixture is rinsed with water which washes away some of the gum taking with it both undissolved and dissolved paint. Lodeizen calls his technique the “batik method”. Jaap noticed that the final results are unpredictable and sometimes lead to quirky traces of the acrylic paint counterbalancing both the predictability of regular patterns and an excess of detail and precision.
The artists made a joint visit to the Tuscan village of Montescudaio for three weeks during the summer of 1994. Goedemoed found old agricultural tax papers complete with seals and stamps in a garbage heap in a backyard. They can be seen, sometimes combined with the batik method, in certain works of that year, for example Tuscan tiling I (Montescudaio) (5, 15). The new technique and use of structural elements do not appear to be a problem for Jaap. In other works, he explores patterns with open (6) and closed (7) structures to which he adds used paper items: fragments of newspapers, old banknotes, Coptic healing scrolls (parchment) (8, 12), Japanese prints (9, 10), cigar boxes (11), handwritten Islamic texts, prints by other artists (11), yellowed and stained materials harmonizing well with the ‘washing’ gum technique.
During the nineties, we see a move towards his first large works, often with spatial divisions. From a distance they are compositions with a strong central focal point, movement or a harmonious whole. Close-up, we see the mathematical precision with which the small spaces are painted and combined with other materials. This development culminated in “Composition with open structure” (150 x 150 cm) (13, 16) in which the artist combines many experiences. The composition is calming without being dull. The separate elements, painted in acrylics and arabic gum, invite the viewer to come closer. And close up, this second layer is fascinating! Jaap enjoys working in these large formats. The planning and the patience necessary to work with these sizes suit him. In this period, we also see a diversity emerge from his work: many things can always be seen in Jaap’s work. It may be movement or a color pattern, or possibly unexpected vistas into a second or third layer.
A Byzantine saint (9, 10, 14) , a Japanese garden (10), a newspaper photograph (14) of a leader from the Balkan Wars. They don’t intrude upon an attentive viewer but form an indispensable part of the overall image.
These were inspiring years for the artist and his work demands to be seen. With a substantial degree of confidence, daring and ambition, during a visit to New York Goedemoed succeeded in attracting the interest of the Montague Gallery in Soho where he showed his large multi-colored mosaics at group exhibition in the fall of 1997.
Text: Rineke van Houten
Translation: Jean E. Boucher
Additional comment by George Degenhart, visual artist
A painting can be read as the result of a systematic sequence of acts that result in placing various materials on a foundation. Such an approach leads to clear insight into the production process and sometimes it is the objective, or one of the objectives, to make the process obvious.
Personally, I believe in the perceptibility of the genesis of the painting because it elucidates the goal. But a painting gets its real meaning when there is a sense of interaction; interaction between me and the painting. This interaction does not emanate from factual data like brush strokes, color, form and depiction, but forms a whole that is more than the sum of its parts and generates a new and surprising image. This is what I notice when I am confronted with the works of Goedemoed. His very detailed canvases, filled with apparently identical, yet differing interlocking forms, conjure up an image like an expedition through the universe.
Remarkably, the genesis is one of great discipline and method while the result leads to getting lost in… well, in what? This feeling of elusiveness also overcomes me when I look through binoculars at a clear, starry sky or when I see pictures of our planet or even the Netherlands taken from space, a world reduced to grains. Or take a photograph of sand on a beach. And although no two grains in the image are the same they still all look alike. Even an image of a crowd shows more similarities than differences.
Sometimes the image within a painting is more or less within a framework, but more often than not it expands beyond the edges of the canvas and probably carries on. Sometimes the image seems to implode with an absorbing central point. The commercial contracts processed by Jaap show more similarities with sand grains than the authors would like. The feeling of order within an incomprehensible world that I am part of develops during the interaction with Jaap’s work. That is exactly why I appreciate his work.
Comments to Composition 2017, 150 x 150 cm
During holyday periods in Montescudaio the so-called ‘sea balls’ were collected on the beaches of Tuscany. It is remarked that these sea balls can appear on all beaches of the Mediterranean. The balls are the remnants of resistant cellulose fibers of a water plant, Posidonia oceanica (L.), also called Neptune grass. By the movement of the sea on the beach the cellulose fibers are formed to the ball-shape dense form, also flattened or egg-shape forms are possible. The ball are mixed with sand from the beach. The sizes of the balls vary from marbles to tennis balls. Many hundreds were collected and first dried and stored.
The next stage was to design a housing of the sea balls. In line with preceding art works the artist chose for a pentagonal tiling and for a large format of 150×150 cm. 2017 was an interesting year for the science on regular pentagonal tiling, because it was demonstrated that there are 15 types of regular pentagonal tiling and that this number of 15 is limited: There are no new types to be expected. In previous art works the pentagonal tiling type 11 was used, this is one of the various types having a tiling build up with a pentagonal double figure. The type used in this sea ball composition is type 10, also from Marjorie Rice. The attractive feature is that the unit cells are very regular, and it does not contain ‘double figures‘ as seen in various other types.
Once chosen, the pattern was brought over on the canvas covered with modeling paste. The next stage was creating the wooden walls of the tiling units. The wood used is balsa wood, very light-weight, with 3 cm height and 1 cm thickness, and precisely sawed according to the pattern. The wooden frame was first covered with modeling paste for filling all gaps and open spaces. Then the lower surface and side walls were painted with a mixture of titanium white acryl and fine sand. The top surface (the pentagonal pattern) was painted with a mixture of ivory black acryl and fine sand.
The sea balls were painted with an orange acrylic paint, dried, and a small part of the ball was cut off and covered with modeling paste. This flat surface of the ball was used to glue the ball to the canvas surface with modeling paste.
In the next pictures the various intermediate stages of the 3-dimensional artwork can be viewed.
It appears that the work possesses about 330 unit cells filled with about 330 sea balls. The balls were fixed to the unit cells by adding modeling paste on the flat sides. Because a lot of material is used (modeling paste, acrylic paint mixed with sand) the final artwork ended up as a very heavy object. The sea ball artwork project started in November 2016 with the initial design, and the artwork was finished in May 2017.
Composition 2017, 150 x 150 cm
Side-view The three-dimensional structure is clearly visible; the height of the walls is decreasing near the sides, and in the middle the large balls are exceeding the cavities.
Composition 2017, 150 x 150 cm
Three-dimensional work with pentagonal tilings of wood on canvas, each cavity comprising sea balls, consisting of the remnant cellulose fibers of the underwater plant Posidonia Oceanica and sand. The sea balls are collected on the beaches of Tuscany, Italy. The balls are dried and strengthened with acrylic polymer with orange acrylic paint. The white and black paint are mixed with sand. The cavity walls are made from balsawood.