Dineke van Huizen

Dineke van Huizen reflects in a playful way the serious paradox of visual illusion and concrete reality. She develops colourful, vibrant formations on walls, floors and canvas with paint and paper as material.

Van Huizen unfolded her former, wave-patterned oil paintings into spatial installations made out of two-sided, brightly painted paper. In these works the oil-paint has left the flat canvas and settles on flexible sheets of paper. With dynamic movements of brush, pencil and scissors, shapes appear out of the many colorful leafs. Painted on all sides, the flat shapes simulate layers of oil-color which can circulate freely in space and mind, without steady background or bearing surface such as a canvas.

One could say the paper functions as an invisible thin skeleton, enveloped by a body 
of paint. Subsequently the capricious but delicate compositions become like flat maquettes for definite oil-painting, with waving brushstrokes and organic shapes as vocabulary. Finally, all detours van Huizen makes serve to invent new solutions to get around the fundamental restrictions of painting itself.

It is not a surprise that she collects the beautiful but concealing packagings of Chinese firework. Her studio is an active installation of light, color and space, an artwork as such, worth a visit. Carefully walking around there, could raise the impression of finding oneself in the middle of assorted fragments and shreds of an infinite exploding painting; elements which after careful research reveil their secrets in order to create new exciting fusions.
It is significant, within the dynamic compositions she creates, that each shape seems to take a determined, ever lasting position but at the same time could any moment liberate itself and fly away, to pose in different other settings, for an eternal while….

Tobias Wilson, Seattle 2022