Barbara Seiler

Titled Curves, the solo exhibition by Bob Eikelboom takes on the concept of the Kubler Ross curve in a new series of drawings combined with twelve magnetic paintings which can be seen as the curveball (something unexpected, surprising or disruptive) of the show.

The drawings form the base of the show and are inspired on this curve (invented by Dr. Elisabeth Kübler-Ross) which visualizes the five stages of grief trough a line chart. Although there is a visible distance between the image and the emotional state that is symbolized, this space creates an openness Eikelboom always searches for. It’s not a matter of depicting the emotion with a lot of expression but more about finding an image that exceeds from the individual and feels more part of the collective. This also gives space for the work to be beneath and above contempt and the humor is dark but on the cuss of foolishness and wisdom. After all, every human-being will, at several periods in their life, deal with the five emotional stages of grief.

Initially, Bob Eikelboom was predominantly interested in the meaning of artistry and painting and all its possibilities and limitations. This formed the basis for a series of monochromes that quickly developed into the so-called ‚magnet works‘. These paintings consist of a steel plate on which magnetic figures have been applied. As a result, the painting invites you to play with the composition, which can continue to change indefinitely. With this, Eikelboom undermines the position of the artist as a creator. He is mainly concerned with the power of art that lies in creating a reality that exists parallel to reality. Where does the viewer position himself in relation to these two worlds? Thanks to the imaginary; existing images and the relationships between artwork, spectator and artist are called into question.

Although painting never disappeared into the background, the role of artistry gradually became more important during his studies at the Royal College of Art, London. Eikelboom’s questioning of the role of artistry has recently shifted in the direction of self-criticism that seems to transcend artistry, but which Eikelboom holds to be its foundation. In short, you could say that he first wondered ‚where is the artist‘? ‚, whereas he is now wondering ‚where am I?‘ Critically reassessing foregone conclusions is a common thread in his work. While this initially concerned painting, it now concerns more worldly phenomena in which self-criticism forms an important element, and painting still forms an anchor point in his thinking.

Barbara Seiler Gallery starts the season with an exhibition of new works by Dutch artist Bob Eikelboom and a performance by Teddy May de Kock. Bob Eikelboom’s exhibition is titled “Curves”, Teddy May de Kock’s performance is called “Medea”.