He said, “the last time we saw him”
       
     
Sandbanks 1971
       
     
Breaking Bread
       
     
Moeder Zit
       
     
Bathers
       
     
Moeder
       
     
s.s. Groote Beer
       
     
Moeder en Kinderen
       
     
Show of Force
       
     
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He said, “the last time we saw him”
       
     
He said, “the last time we saw him”

Acrylic on canvas

72” x 72”

Sandbanks 1971
       
     
Sandbanks 1971

Acrylic on canvas

36” x 36”

Breaking Bread
       
     
Breaking Bread

Acrylic on canvas

36” x 36”

Moeder Zit
       
     
Moeder Zit

Acrylic on canvas

36” x 36”

Bathers
       
     
Bathers

Acrylic on canvas

60” x 60”

Moeder
       
     
Moeder

Acrylic on canvas

36” x 36”

Private Collection of Lynette Harper

s.s. Groote Beer
       
     
s.s. Groote Beer

48” x 48”

Acrylic on panel

s.s. Groote Beer references a photograph, taken in the 1950s, of my mother’s family playing games on the deck of the ship on which they immigrated from the Netherlands to Canada. It is part of a series of semi-abstract, large scale figurative works that focus on formal experimentation and the materiality of paint, exploring family history, memory, and imagination.

Moeder en Kinderen
       
     
Moeder en Kinderen

48” x 48”

acrylic on panel

Moeder en Kinderen references an old family photo taken during my childhood growing up near the Great Lakes. From the vantage point of the present, the photograph evokes visual and tactile images: the feeling of hot sun and cool water, my mother’s bathing cap and the bright plastics of children’s floaties. Experimenting with layering and the fluidity of paint on a flat, non-porous surface, I have tried to recover and convey that memory.

Show of Force
       
     
Show of Force

48” x 48”

acrylic on canvas

Show of Force, which takes an old photograph as its starting point, references my father’s experience as a prisoner of war in Indonesia during World War II, and later his mandatory service in the Dutch Armed Forces. In those environments, order and conformity could be matters of life and death, with deep ramifications for the individual experience of nationalism and identity. In this painting, the soldier’s camouflaged helmets have become exuberantly and excessively ornamental, suggesting an absurd and frivolous defiance.

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