Jos van Merendonk – The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

Installation view, Jos van Merendonk, The promise of tradition, Boetzelaer|Nispen

“[…] Refusing to add yet another vociferous innovation to the already inflated repertoire of modern art, the artist opts for a relationship with tradition. For him the promise of tradition is ever present, neither to be ignored nor respected: a new use for it has to be found. […]”
Stefan Majakowski – The Return to Paradise by way of Chromium Oxide Green

Jos van Merendonk (1956) has, in the last three decades continuously labored on a body of work that, given the self-imposed limitations at hand, has a surprising scope and depth. Three simple gestures on a square canvas form a base structure, this structure is then re-imagined by Van Merendonk painting over the structure, always using the same, rather unforgiving green hue.

It might seem contradictory to create freedom by imposing limitations upon oneself. By never asking what a painting could be, but always what his painting could be, he arrived at a void in which the art historical baggage of the medium was no longer a concern. The last three decades have been spent on a painterly practice within an extremely tight set of constraints. The result is a body of work that seems of a somewhat anachronistic detachedness.

Jos van Merendonk – The promise of tradition
Boetzelaer|Nispen, March 19 - April 30
www.boetzelaernispen.com