PIET VAN DEN BOOG
For 12 years now I have been experimenting in using metal as canvas for my paintings.
I began working with rough steel plates, making them worn out and combining this with portraiture.
For the last 10 years, sheets of lead are my preferred surface to work on.
As a modern day alchemist, experiments with patinas and chemicals grant me unexpected possibilities on the lead surface which result in completely new textures and colors – an intensity of color and texture which I could never achieve with oil and acrylic alone.
I combine these techniques with oil and acrylic, and at the same time, include abstract in figuration.
My chemical techniques are unpredictable, a fact which gives me freedom to work.
I recently made a number of paintings which were completely done with chemicals on the lead surface, giving them a vibrant imagery.
Portraiture and figuration will alway be the centre of my work.
I myself am Made Entirely …
185 x 150 cm, Acrylic and oil on patinated lead, green patina, iron oxide, lead white.
Dutch painter, Piet Van Den Boog (b.1951) currently lives and works in Amsterdam. His work is included in many important international museums and collections, has found a new interpretation of the figure and portrait by way of an alchemic process that promotes effects of chemistry on the picture plane. Influenced by the writings of Sylvia Plath and painters like Jenny Saville, van den Boog’s point of departure is a photo reference, which he then enlarges to a monumental size. Oil and acrylic paint make up flesh tones and facial details, while abstract strokes in rust tones are chemically etched into the cold lead surfaces, becoming a powerful metaphor for the internal scars we all possess.
Van den Boog pushes the limits of portraiture by directly confronting emotion head-on by way of large-scale paintings. New ways of seeing, generated through a personal process, have always rewarded the viewer with new insights.
A modern day alchemist, van den Boog’s experiments with base metals like lead, copper, steel etc. form a grand visual allegory of personal transmutation and the quest for a cure for the human soul.
It is the process that ultimately imbues the portraits with relatable human qualities. The element of technical surrender alludes to the unforeseen consequences of intimacy and the perpetual co-existence of pain and pleasure.
Van den Boog’s work is exciting and emotionally rich in that as viewers we participate in his process and feel transformed by it. He benefits from the uncontrollable nature of chemical action by way of accidents, which bring chaos to the organized mind.
Piet Van Den Boog represented by Zemack Contemporary Art Gallery in Tel Aviv.
Website: www.vandenboog.com/
email: piet@vandenboog.com
The Muse, (Based on Balthus painting)
150 x 220 cm, Acrylic and oil on lead, black patina, lead whoite, azurite, intestine paper, gold leaf, iron oxide and silver sand
Jewish Bride (#2), 150 x 200 cm
Acrylic and oil on patinated lead, iron oxide
De Baadster / Woman Bathing, 150 x 100 cm
Oil and acrylic on lead, black patination, iron oxide, azurite, silver sand
