Albert Goederond
14 Mar - 25 Apr 2015
© Albert Goederond
Haal die Nachtwacht maar vast weg, Wim... exhibition overview, 2015
photography by Gert Jan van Rooij
Haal die Nachtwacht maar vast weg, Wim... exhibition overview, 2015
photography by Gert Jan van Rooij
ALBERT GOEDEROND
Haal die Nachtwacht maar vast weg, Wim...
14 March - 25 April 2015
On a square, fiery red subsurface a white cross is painted, turned over on its side rimmed by black lines and neatly decorated with a baroque logo, like a coat of arms. The Swiss national flag’s cross has been twisted and is branded by the exclusive emblem. In the far left bottom corner, the ambiguous title of the work is written, red on red: “Stained & Twisted”.
It is one of the pyrographies that Albert Goederond (1953, Schiedam) shows in the front space of Galerie Fons Welters. Since a number of years Goederond has fanatically concentrated on this technique of wood burning. Slowly, with a burning pen, black scalded lines are carved into wood and multiplex, to thereafter fill the different parts with acrylic paint. Various colourful works arise, sometimes characterized by an abstract clearness,sometimes by horror vacui; an excess of intertwined visual elements. The flat wooden surface turns into a subtle relief, and amongst them letters claim their place. The pyrographies look like folkloristic images and carry statements that seem to be pamphlet-like or maybe tongue in cheek. Sometimes they are even completed with ‘banner texts’, painted yellow in yellow, like for instance the brand neologism ‘Derivatex’. However, the works are not addressing contemporary (digital) velocity, but rather precision and concentration. Whilst observing, loose letters mould into words and images settle into the viewer’s mind.
Albert Goederond’s self-willing work is full of citations. Among others, he refers to other artists, addresses the director of the Rijksmuseum in a provoking way, gives central stage to a fancy car brand, (“Boegatty Veeron”, 2015) and does not infrequently add his own brand name, “La Salle”, to an image. Art historian Camiel van Winkel strikingly captured the combination of various references in Goederond’s pyrographies: “Each work is a blend of flowchart, moodboard, geneological tree, and organization chart; a web of logo’s and letters, figures and images, slogans and headlines, numbers and names, advices from or for others and warnings for himself; recapitulations of key-moments from his own life and the recent past; universal-joins and cross connections between micro and macro, private and public, fantasy and politics, high art and haute finance, real estate and spirituality.”1
(Camiel van Winkel, ‘Noodzakelijk kwaad, Albert Goederond’, Angle Gallery, 2013).
More information: www.lasalle.nu
Under the brand name of LaSalle, Albert Goederond works together with Patty Struik on art projects in public space.
[1] Translated fragment from original text in Dutch: “Elk werk is een versmelting van flowchart, moodboard, stamboom en organogram; een weefsel van logo’s en letters, figuren en beelden, kreten en koppen, nummers en namen; adviezen van of voor anderen en waarschuwingen aan zichzelf; recapitulaties van sleutelmomenten uit het eigen leven en het recente verleden; kruiskoppelingen en dwarsverbanden tussen micro en macro, privé en publiek, fantasie en politiek, high art en haute finance, vastgoed en spiritualiteit.”
Haal die Nachtwacht maar vast weg, Wim...
14 March - 25 April 2015
On a square, fiery red subsurface a white cross is painted, turned over on its side rimmed by black lines and neatly decorated with a baroque logo, like a coat of arms. The Swiss national flag’s cross has been twisted and is branded by the exclusive emblem. In the far left bottom corner, the ambiguous title of the work is written, red on red: “Stained & Twisted”.
It is one of the pyrographies that Albert Goederond (1953, Schiedam) shows in the front space of Galerie Fons Welters. Since a number of years Goederond has fanatically concentrated on this technique of wood burning. Slowly, with a burning pen, black scalded lines are carved into wood and multiplex, to thereafter fill the different parts with acrylic paint. Various colourful works arise, sometimes characterized by an abstract clearness,sometimes by horror vacui; an excess of intertwined visual elements. The flat wooden surface turns into a subtle relief, and amongst them letters claim their place. The pyrographies look like folkloristic images and carry statements that seem to be pamphlet-like or maybe tongue in cheek. Sometimes they are even completed with ‘banner texts’, painted yellow in yellow, like for instance the brand neologism ‘Derivatex’. However, the works are not addressing contemporary (digital) velocity, but rather precision and concentration. Whilst observing, loose letters mould into words and images settle into the viewer’s mind.
Albert Goederond’s self-willing work is full of citations. Among others, he refers to other artists, addresses the director of the Rijksmuseum in a provoking way, gives central stage to a fancy car brand, (“Boegatty Veeron”, 2015) and does not infrequently add his own brand name, “La Salle”, to an image. Art historian Camiel van Winkel strikingly captured the combination of various references in Goederond’s pyrographies: “Each work is a blend of flowchart, moodboard, geneological tree, and organization chart; a web of logo’s and letters, figures and images, slogans and headlines, numbers and names, advices from or for others and warnings for himself; recapitulations of key-moments from his own life and the recent past; universal-joins and cross connections between micro and macro, private and public, fantasy and politics, high art and haute finance, real estate and spirituality.”1
(Camiel van Winkel, ‘Noodzakelijk kwaad, Albert Goederond’, Angle Gallery, 2013).
More information: www.lasalle.nu
Under the brand name of LaSalle, Albert Goederond works together with Patty Struik on art projects in public space.
[1] Translated fragment from original text in Dutch: “Elk werk is een versmelting van flowchart, moodboard, stamboom en organogram; een weefsel van logo’s en letters, figuren en beelden, kreten en koppen, nummers en namen; adviezen van of voor anderen en waarschuwingen aan zichzelf; recapitulaties van sleutelmomenten uit het eigen leven en het recente verleden; kruiskoppelingen en dwarsverbanden tussen micro en macro, privé en publiek, fantasie en politiek, high art en haute finance, vastgoed en spiritualiteit.”