Monica van Rijn 'People and Nature' By Jan Frenken
Monica van Rijn was born in Amsterdam in 1950
and lived in the United States until she was 25
years of age. She attained her Bachelor of Arts
Degree in Sociology, with a minor in Psychology
in 1974. Thereafter she traveled through Europe
and Hawaii and her explorations ended in 1977 in
Amsterdam where she still lives and works.
It is not possible to truly experience
Monica van Rijn's work from viewing a
photograph or slide. Her work is built up of
structural layers which are then difficult to
detect. There is a broad range of painting
techniques evident in her paintings. Soft
pastel shades in the background. Broad
sweeping forms made by brushes and
pallet knives are applied to top layers.
Because several thin layers placed upon
one another build up the surface, the
paintings are rich in texture. The dynamics
of her painting style manifests itself in
each painting.
Although no intentional reference to nature
is made, a scenic atmosphere is obvious.
Figuration is secondary to the 'lyric
expressionism' in her work. As she paints,
figures and scenery automatically emerge;
not exactly in the way we are used to
seeing them, but in a way that still
expresses our own relationship to nature
and figuration.
Every part of the painting process is
traceable in her work. Occasional
drippings, spats and rapidly applied dry
brushstrokes, pallet knife scrapes, and
powdery substances all participate in the
imagery.
All of what takes place while painting
becomes part of her pictorial vocabulary.
The lively, exuberant canvasses show us
the path she must have taken to reach
this intensity. Her working materials are
acrylic paints, oil crayons, and charcoal.
With speed and emotion, she places her
perceptions on the canvasses, searching
for a balance of form and color.
Twelve photographs of her work are
spread out on the table in front of me.
I will have to make a choice. Luckily, I was
recently able to see her exhibit for myself,
because photos are really too small to
observe the textural quality which is so
essential to see.
The painting 'Home at Last', depicts a
figure standing in an undefined landscape.
Watery reflections and blue-gray shades
give it a lyrical quality, while, from
somewhere else on the canvas an
impending force emerges.
In 'Corrida' (See: cover), the canvas is
controlled by a figure which steps out of
the background. Bright red brush-loads of
paint speak for themselves.
In ‘Other Dimensions' there is little
reference made to figuration. This is a
pure abstract work; yet, reminds us of our
instinctual relationship to nature. It is not
made, but has evolved, like all things that
grow. The background is built up of pink
and turquoise blue tones. The black forms
on top are open and motioning. The
surface has matured. This is a painting
with authentic strength.
The painting 'De-light' is the most scenic.
A horizon, full of movement, not of natural,
but of industrial and urban violence.
Underneath is a saturated earth. Would I
be going too far to assume that the black
rectangle in the sky had once been the
sun? Harmony is achieved through open
areas on the right-hand side of the
painting. Reference made to our
relationship with our surroundings gives
this work an extra dimension.
Good artistry carries a certain substantial
quality. Something the viewer can connect
with; a response to your inner self.
It doesn't even matter if it's abstract or
figurative.
