Mark van Overeem resurrects the old distorted canvas. His flat,
perspective-shaped wooden or aluminium panels are tilted ever so
slightly. Contrasting painted shapes, and the colour on the backside of
the panel that reflects off the white wall, further confuse our image
processor: do we see a subject, an object, or both? Where does the wall
start, where the painting? Is it a painting at all? The bemused eye
wanders and comes to rest on Coen Vernooij’s pleasing abstract lines,
drawn directly on the wall. But not for long: a slight shift of the
observer stirs the drawing into its true 3-dimensional iron-wire life.
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