Stillness

untitled, 2000
acrylic paint , on canvas, 150x100 cm

From the mid-1990’s Verdijk created mystical, dewy colour planes that gradually become lighter. In the painting at hand darkness still predominates, but we can see that the overall mood has calmed down. Verdijk gently stains the canvas by letting the paint bleed over the picture surface, creating an organic surface fabric. In the misty environment Verdijk infuses some element of detail; two glowing spots of golden yellow appear along the lower edge of the painting that accentuate the overall tranquility of the artwork. As the metaphysical curtain, which brings forth a brighter atmosphere, is slowly drawn down over the darkness, the two specks of light are a symbol of hope; the darkness will soon clear completely.

untitled, 1988/90
oil , on canvas, 160x113 cm

Right hand side
The striking and very intimate painting is part of a monumental 50 work series created by the artist in the 1980’s entitles Elevations (Elevaciones). The artworks follow a uniting theme; they display majestic flights of stairs leading up towards altars or gateways. The strict symmetry and structuring create harmony. Yet, the austere design is juxtaposed by the superb use of colour, as the whole painting seems to be bathed in warm light. The artist applied a unique layering technique and painted complimentary colour flakes to produce a deep and vibrating glow.

As the steps start right at the lower picture edge of the painting, we seem to be invited to delve into this very intimate scene.  The stairs may be a metaphor for the journey the soul takes through prayer or contemplation; ultimately uniting with the divine.

 

Left hand side
untitled, 1993
oil paint, canvas, 130x97cm
Created in a transitory period (1991-93), the last work before embarking on his final series The Gliding Angel (El Vuelo del Angel), this deeply moving and mysterious work is regarded as the heart of the museum.

The artist presents a very pure form of abstraction through the most sensitive manipulation of colour. A burning light seems to radiate from the very core of the painting. In the same tonalities, a light beam sweeps downwards. The background is rendered in a deep purple that still lets light filter through. It is an arresting image that is sometimes described as a wound, a heart, a key or a gateway. Regardless of how it may be interpreted, so many who visit Museu Raset are inspired by it.

Vertex, 1991
oil , on canvas, 200x200 cm

The size of this artwork makes for an impressive viewing experience. A striking double lined pyramid takes centre stage.  The outer or second pyramid is mostly hidden. Dark grey and blue tones dominate the scene but the painterly background is broken up by light entering from the top of the composition.

The pyramid is a universally recognised shape and a powerful emblem of cult and worship in many ancient civilisations. The Egytian pyramids immediately spring to mind, but all over the world there exist examples of such ancient monuments. Remembering this, the painting may allude to a secret inner sanctuary.  The large square in the background could be interpreted as a divide or gateway from the tangible to the intangible or that which could be termed as our inner self or ancestral past*.

*See Carl Yung’s theories for the collective unconsciousness. 

The Black Object, 1991
oil , on canvas, 140x140 cm

The black stain, also the source for the title of this artwork, is the focus of attention. It gives the otherwise light painting weight. In contrast to the stain, a large complex structure of incredible translucency has been composed in the middle of the painting. Within this rectangle at least two other spaces emerge. Fine demarcations that may suggest openings can be seen; one near and one in the distance. Perhaps they serve as a metaphorical way into the painting.

Contemplating this artwork it might be helpful to us to adopt the artist’s point of view that incertitude is the basis for creation; walking the road to the unknown.