Jan Grosfeld - no title

Lithograph by Jan Grosfeld. Year: 1998. Circulation: 109/140.
Dimensions top: H29.5 x w21cm. Dimensions: H26 x W11cm.
The work is signed in pencil by the artist (monogram) at the bottom right. The authenticity of the work offered is fully guaranteed. A certificate of authenticity can be emailed upon request. Upon purchase, the work can be picked up in Meppel or can be shipped (insured).
Hysteria and ecstasy. Desire and powerlessness. Promise and surrender. These are powerful, meaningful and evocative words that artist Jan Grosfeld uses when he speaks about his work. He says he is guided by images he sees in everyday life. Images that are so strong that he has no choice but to process them into drawings, paintings, sculptures and installations.
How each of us Believes is the title of the compelling work that Jan Grosfeld (1956) presents in the Nouvelles Images gallery. Not what we believe, or what, but how we believe. Faith with a capital letter. It is there for a reason. "Believing in things is the direct motivation for me to want to paint. It is a search for the reason why we believe in what we believe. It is not about what we believe. How each of us Believes says everything about the reason why I paint and why I want to share it with the viewer."
Jan Grosfeld is an artist who adheres to the ideology of economic image use. His work is without frills or adornment. Everything that is not necessary to tell the story has been omitted. In his pictographic abstractions, for example of a road, a person or animal, Grosfeld emphasizes the core of his artistic statement. It is an essence of longing and desperation, of illusion and an unattainable promise. How each of us Believes consists of several series.
There is a series of paintings in which the contours of human figures are depicted in white, simple, rough brushstrokes on a background of threatening solid anthracite. It is unclear whether they are men or women. What it expresses is clear and unmistakably related to the spirit of the times, as can be seen in the painting GSM. "The human figures in my work are androgynous. The figures are not man, not woman, not child and not adult. I don't want to be too specific. I think it is more important that the figure relates to the time for him to be interpreted as an individual. GSM is about the desire to break through communicative impotence. I show an ambivalent image. The ambiguity also lies in the material of the painting. I want to evoke a shape with a brushstroke, but that at the same time also denying it. I want to emphasize both the flatness and the spaciousness of the work."