RONMANDOS is delighted to announce the return to Holland of successful German artist Oliver Boberg (Fürth, 1965).
Over a ten year period, Oliver Boberg´s photographs and film stills of his urban scale models have gained substantial plaudits. Concrete overpasses, rural warehouses, building sites, precisely and recognisable recreated, manipulate our mental expectation through the knowledge that these locations are shams: pure inventions of the artist.
Within his latest series ´Seiten´ (Pages) that will be exhibited here, Boberg elaborates non static representational devices present in these earlier works. The subtle suggestions of movement in his dyptich photographs and the dynamic narrative expectation of his night site films are taken a step further in ´Seiten´. Two or three different images are incorporated in one panel, revealing the inner connections between these urban scenes. One image is not perceivable without the other. A connection is involuntarily made in the mind of the viewer.
With this series Boberg rescapes the urban space in a way that lends from comic book art and poetry. Subtle textual bridges of images hang in one view to evoke tension. Each image like a verse in a poem, standing alone, but also functioning together as one piece. This mode of combining and linking opens the viewer up to deliberate reflection and sensation around these familiar yet alienating city locations.
Oliver Boberg has for many years now been involved in a number of solo and group shows in quick succession. This has led to his work being shown in many galleries, collections and museums in Europe, North and South America.
Aside from the exhibition of Oliver Boberg´s recent work, Annemiek de Beer will present recently created pieces in the back area of the gallery.
Annemiek de Beer´s paintings elicit the abstract from everyday details: the rhythms, repetitions, structures: the spine of an oak leaf, the parallel lines of a tiled roof. In other pieces her focus seems to gravitate towards light: the way it reflects on lake reeds and upon the petals of a water-lily.
Annemiek de Beer utilises withdrawn, cement colour schemes that retain a fresh and silky character. They are applied slowly, layer upon layer, constructing an intense tone and structure that is at once heavy and brilliant. This organic method with its linear and structural concerns achieves results whose simplicity and elegance remind us of the traditions of Japanese painting.