Amie Dicke is an artist who works as an appointer, referrer, indicator, a cursor and exposes that which would usually be overlooked. Collected images and objects incrementally find their way into her studio from a wide variety of sources. She then selects elements to be sandpapered away, blotched, spattered, covered with make up or surgically incised. Through this process of collection, selection and removal, Dicke allows unexpected aspects of the image or an object to come into focus.
Maaike Schoorel’s work is based on her research into the human mind’s ability to perceive and understand the visual world. The subjects of her paintings appear at once recognisable and elusive. Using photographic source material of people, places and objects Schoorel compositions simultaneously appear and dissolve into the canvas. As with all of Schoorel’s paintings, they reveal themselves in slow time. This perceptual aspect, the critical function the brain plays when perceiving an image or a memory, becomes a intrinsic part when viewing her works. The longer you look, the more they reveal; the more they reveal, the longer you look.
In the process of developing her work, Helen Verhoeven allows for drastic transformations of her subject so that paint and composition can dictate the figure’s purpose. Amidst a chaos, her character sits in silence. It’s her, but at the same time it’s not her. Like the pluralist persona of her subject, Verhoeven too reveals contradictory tendencies within the work: her brushwork can be crude, then careful, sometimes careless and blasé, then seemingly urgent and unapologetic. The drawing can be simultaneous clumsy and deliberate. There is a sense of conflict in the presence of both tenderness and aggression and while the placement of banal still life objects and semi sexual references to the nude genre seem playful, the paintings are nonetheless serious and oddly severe.