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At first sight Resie Schlooz’ work strikes us as restrained: pale earth tones, forms suggesting rather than defining, and a method of applying material resembling the organic deposition of sediments rather than deliberate manipulation. If this is all you can see, you can most certainly enjoy, as a viewer, the tasteful and enigmatic aura of her work. However, when you open up to Schlooz’ work, it reveals a deeply emotional nature hard to put into words.

Resie Schlooz is of a nature that responds with strong sentimentutterly beyond words, to what she encounters. A nature that also resonates energetically, with people on the same deeply emotional wave length, without uttering a word. Therefore viewers can respond intensely to her work. It strongly reflects Schlooz’ own experience.

 The main theme throughout her work, particularly because of the feeling it expressescould be described as the aftermath of an explosion with a profound impact. For some sculptures she literally used the remains of fire works, as if to underscore this theme. The empty fire work shells, developed to accommodate a potentially explosive content, are the remains of an efficient and very rationally designed package. Together with the tears, scorches of the actual explosion, and the traces of an existence as ‘waste matter’ after the device had its use, they amount to the elusive sense of tragedy that these sculptures have about themselvesA process where all the available energy is consumed within the blink of an eye, and what remains long afterward: a torn package with traces of fire eroding slowly in the form of debrisFor Schlooz these two parts of the process seem to picture the two sides of emotion of life itself: sudden events with an irreversible impact, followed by long years of being battered and defenseless. This fundamental process even coloured the course of her life.

Twelve years ago, in 2002, Schlooz got whiplash due to a car accident. It forced her out of a ‘running’ life into years of near paralysis and revalidation. It was, so to speak, a sudden blow followed by a necessary standstill, after an adult life of running and ignoring the most obvious. However difficult it may have been, and still is, perhaps it was also the best thing that ever happened to her because it made her discover the value of standing still and feeling the silent impact such an experience can haveThe essence of her work might actually be described with these words: standing still and feeling. Together these qualities define the ground from which her works grows and that is precisely what they demand from the viewer.

In spite of her physical impairment Schlooz still produces a considerable number of works a yearThere is a group of works that comes about fast, in a surge of feverish and steadfast action. By contrast, another group consumes a considerable amount of time, because each one of them needs a enduring period of maturation and concentration. She interferes, leaves the work for a while, comes back to it, and decides how to move forward: another gesture, take away something, ‘damage’ it partially, and so on. This cycle is repeated many times until the work, after being gazed at and touched for a long time, is finished and reveals its characteristic mixture of secrecy and hidden emotional charge.

The long residential periods abroad, especially in Africa, Colombia, and France, the raising of her children, and the car accident were of considerable influence on her artistic career. However, all three of them deeply influenced the way she has become. The three of them also slowed down her artistic career, while at the same time being an inspiration. At sixteen years of age she already wanted to attend the art academy, even though that proved impossible at the time, and since then she spent a considerable amount of her time on creative work, whatever form it took. She worked as an art therapist with children, made furniture for children and painted everywhere in the world, with or without the aid of local professional artists. 

The real turning point however, came about eight years ago. The car accident and the long period of slow and partial recovery were a forced opportunity to make a definitive turn in her life. She realized that her sensitivity and artistic skills should be on the foreground of her life. Looking back, it seemed to be the only possible course of her life. Whichever way you view her, she turned out to be made for the life of an artist.

Vincent Botella (2014)

 

RESIE IS MEMBER OF:

– info@resie.net

EXHIBITIONS

UPCOMING EVENTS

– Kunstwedstrijd KopS ‘Thuiskomen’ 2017 (November 2017)
– Museum Muzee – Scheveningse Salon (28 Nov – 26 Dec 2017)
– Kunstroute 2017 – Galerie Leidse Lente (23 – 24 Sept)

PAST EVENTS

– Kunstroute Statenkwartier (8 – 9 April 2017)
– Galerie Arti Shock Rijswijk (29 Jan – 16 Feb 2017)
– Galerie Cafe Leidse Lente Tentoonstelling Deluxe (18 Dec 2016 – 12 Jan 2017)
– Museum Rijswijk  (10 – 30 December 2016)
– Light walk Scheveningen (Light Objects) (10 Dec 2016)

– Kunstroute / Art route Scheveningen KOPS (8 – 9 Oct 2016)
– Galerie Cafe Leidse Lente – Kunstroute Leiden (24 – 25 Sept 2016)
– Museum Muzee – Expositie Haringkoppen Verbinden (19 Jun – 1 Aug)
– Pier Scheveningen (20 Feb – 20 Mar 2016)
– Galerie Cafe Leidse Lente – Tentoonstelling Heb Mij Lief (14 Feb – 3 Apr 2016)
– Galerie Cafe Leidse Lente – Tentoonstelling Min of Meer (18 Oct – 29 Nov 2015)
– Ledententoonstelling Arti-Shock (9 Oct – 8 Nov 2015)
– Art Arnhem (29 Oct – 1 Nov 2015)
– Galerie Cafe Leidse Lente – Overzichtstentoonstelling (6 Sept – 27 Sept 2015)
– De Waag Haarlem (12 July-02 Aug 2015)
– Kunstroute KS (April 2015)
– Museum Muzee – De Scheveningse Salon (Feb – March 2015)
– JAPANMUSEUM Sieboldhuis (Nov 2014 – Feb 2015)
– ArtAttack Rotterdam (Jan 2015, Rotterdam)
– Museum Muzee (May /June 2014, Scheveningen)
– Regionale Kunstdagen (Jan 2014, Den Haag)
– 200 jaar Koninkrijk (Nov 2013, Den Haag)

– Museum Rijswijk (Nov 2013, Rijswijk)
– Hilton Den Haag (Sept-Oct 2013, Den Haag)

 

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+31 6 13186066

info@resie.net

The Hague, NETHERLANDS