Eric White - The Lobby (2014)

Art Rotterdam

GRIMM founded by Jorg Grimm and Hannah Reefhuis in 2005, has become one of the leading galleries for contemporary art in the Netherlands. Since 2010 the gallery is located  in the city center  of Amsterdam nearby the museum square at the Frans Halsstraat 26, representing more then twenty international artists. For Art Rotterdam we’ve made a selection of exiting new works by gallery artists. Which for the first time includes work by London based Michael Raedecker and LA/Brooklyn based Eric White.


Since 2005 Charles Avery (1973) is working on his on-going project, The Islanders. The Islanders is the perpetual description of a fictional territory, its inhabitants and their beliefs, through the medium of drawing, writing and objects. Every feature, from its topology to its cosmology, flora and fauna to its social practices, embodies a philosophical proposition, problem or solution. His work comprises drawings of both complex scenes and detailed character studies, functional and decorative objects; cafe tables, drinking vessels, wallpaper, and posters that appear around the city. Collectively the work gives an insight into the vernacular style and cultural idiosyncrasies of the island.


Alex Dordoy (1985) trained at the Glasgow School of Art, and attended De Ateliers for two years. He combines traditional techniques with high-grade technology. The artist edits and manipulates existing objects, photographs, images and patterns using Photoshop, after which he develops them into paintings or sculptures in plaster, silicone or jesmonite.


Adam Helms (1974) mines imagery from mass media and journalism to repurpose and challenge established visual tropes. Helms is an artist-meets-anthropologist, collecting a range of source material from film stills, comic books, magazines, and the internet to inform the concerns of his work. Whether through paintings and drawings on paper, prints, or light boxes, Helms reveals how images can be reproduced and recontextualized to take on different narrative interpretations and symbolic qualities as art objects.


Matthew Day Jackson’s (1974) working with a set of signature themes that range from space exploration and war machinery to advanced anatomy, he uses both traditional craft techniques and cutting edge computer mapping to make art that exposes the layered and often dark relationships between technology’s abstractions and the palpable effects of time. For Jackson, the measurable and the inexplicable, power and sacrifice, mortality and the infinite are all part of a realm he has dubbed ‘the Horriful’, where everything we do has the potential to create both horror and beauty.


Joep van Lieshout (1963) founded Atelier Van Lieshout in 1995, a multidisciplinary studio based in Rotterdam, The Netherlands. Over the years Joep van Lieshout has attained international recognition by creating objects that balance on the boundary between art, architecture and design: The often-provocative oeuvre ranges from sculptures to furniture, mobile homes, and autonomous communes. All these projects combined form an extensive research into recurring themes such as autarky, power, politics and life and death. Atelier Van Lieshout’s most recent sculptures are based on machines and tools as an extension of the New Tribal Labyrinth series which Atelier Van Lieshout aims to start a Neo-Industrial Revolution with.


Dave McDermott (1974) represents duality in his work. His paintings and drawings all display an intentional in-betweenness. Equally reliant on their tactile nature as objects as much as the images they carry. McDermott’s paintings are unsettling balances of textures, pitting graphic simplicity against painterliness, flatness against depth, humor against pathos, using all equally but never tipping far enough in any one direction to allow for easy categorization.


Michael Raedecker’s (1963) approach to painting is to give traditional subject matter a new twist by using methods and procedures of picture making not usually associated with image based painting. Interiors and exteriors reminiscent of a more classic tradition are created from yarn and poured paint. Raedecker is best known for combining embroidery with paint to create images of eerily empty suburban streets and buildings. Images of flowers, food and textiles with darkly ambiguous titles bring the feminine and domestic associations of his stitching into play with his subject matter, and show his interest in the Dutch tradition of still-life and vanitas; paintings. Raedecker mines art history and popular culture, sourcing compositions from 17th-century garland paintings, obscure magazines and film stills.


Matthias Weischer’s (1973) paints large, semi-ornamental depictions of interiors, parks or gardens but increasingly dares to omit figurative elements (although his art is never completely abstract). In 2011 he discovered ‘pulp painting’: refined paper pulp coloured in advance and applied to a paper support using big pipettes.  Weischer began to explore it in collaboration with Gangolf Ulbricht (Berlin) and Sue Gosin (New York), sometimes in combination with other techniques such as silkscreen. Pulp painting forces him to work quickly and there is little room for error.


Eric White (1968) approach to figuration is both beautiful and disturbing. Whether expressed blatantly or in a subtler manner, his work attempts to tap into those realities and dimensions that exist beyond the fringe of our perception. White found a way to celebrate the sounds he treasures by re-imagining the album covers of his favorite rock and pop musicians. Although the record cover is the point of departure, the artist takes the opportunity to explore a variety of painting styles, puns, and parodies. Painted in oil on wood panels, White’s works resonate with wit while flaunting amazing artistic skills.


Nick van Woert‘s (1979) practice is rooted in his architectural background and reflects on modern day society, technology and progress. Van Woert works with contemporary materials that are ubiquitous in the environment around us, investigating the extreme polarity materials can traverse. His sculptures consist of what he finds in and outside his studio: gravel, broken bottles, metal, cleaning materials, even cat litter. Fascinated by the material language of art and what things consist of, he dismantles and strips down objects to examine what remains.