REIJNDERS Bram
Bio
Bram använder sig huvudsakligen av ”recycled materials” i dessa ”cut outs” är grunden från reklamaffischer som sedan prytts av glitter resin och olja i fria lekfulla sprej, fritt rinnande eller kanske penseldrag. Bram är förmodligen den mest sålda ”nya” popkonstnären i världen med över 500 verk sålda 2013. ArtZandra är stolta att vara med på denna galna mans resa in i konstvärlden. Han äger själv Hollands största galleri och har nu gått över till att bli en heltidskonstnär.
MUCH TOO MUCH by Eric Kaare
In the quiet insanity of the woodsIn the attic of a closed down asylum Bram Reijnders is under lockdown in his own time capsule. Strewn everywhere there are fragments of objects collected in a mad rampant dive into time and beamed into the capsule. There are pictures of Brazilian beauties, a ‘kiss-me-quick’ mouth, Donald Duck’s forgotten feet, a Deli-ad, and a thousand ripped up poster pieces. The collection would have been the envy of Mimmo Rotella, the Italian POP ART artist who brought beautiful, randomly torn snippets from advertising pillars on to prestigious gallery walls. Entering Bram’s capsule is to the bewildered spectator allowed access, like entering a whirlwind of scattered works, some finished, some in progress. Some are standing, others hanging, capsizing, some lying on the floor as if debris from a colour explosion.
Everything must be tried out and preferably at the same time. On top of that the artist has the nerve to import fragments of sentences such as ‘buy me’, ‘buy me now’ and ‘delicious’ into his works. Some works have elements of gold, tinsel and sequins coated with a really kitschy plastic. An impression usually associated with pinball machines in gambling arcades and you almost expect everything to light up when you reach 120 points! Bram Reijnders’ approach to effects is akin to a child having gatecrashed an uppity birthday party and taken a bite out of every cupcake to make sure that there isn’t a better topping on the tray. And when caught he flashes the same disarming smile of all children, saying, “I only did it because I could!” Bram’s imagery as it appears at present is driven forward by the same aggressive energy you will find at a Brazilian carnival. All effects are employed to the max, much like a mousy, suburban office girl dressing up in fishnet stockings, a scant outfit and fake eyelashes for a night of wild abandon on the carnival float. Would not most of us take ‘Much too much’ with a pulsating samba beat over highfalutin art snobbery any day?
Eric Kaare Gallery Nordenvind Denmark
