Color, sensitivity and spirit.

About the work of Rineke Header Freedom is something beautiful, thinking many, often without realizing what that really means. True freedom is difficult to achieve. There are so many learned habits that stand in the way of us to really be free. Artist Rineke Head enjoyed in the late 1970s a very classical academic training at the Royal Academy of fine arts in the Hague. Then she was years the high degree of discipline and skill that was taught to shake her off, looking for the loose and informal abstraction that they felt inside for years. Gradually, she discovered the independent power of color. The power of color to, as one agreement, a very rich musical painting to determine and to contribute: the atmosphere, the gestures and the composition. When you look at her current work, then comes the indeed about as worn by colour: atmospheric with spontaneous gestures here and there, unpolished. That is particularly true of the cloths that they directly from her feeling. There speaks sensitivity and zest from the mysterious compositions and the beautiful color combinations.

At the recent work you’ll see that the loose, improvisational style of work itself has become a part of her now. So much so that it is a kind of touchstone. It is extremely important that each new work onbepaalds and preserves something unpredictable. In such a strong degree that the question “is this?” inextricably connected with the work. How frustrating – or perhaps irritating – this also is for the average viewer. While working for the end product, not central, Rineke Header but on a very principled way the process. It comes to her experiencing the interaction of colors, materials and gestures with her self. It is as if the boundaries between her, as the painting, if the maker, and made, for settling, so that there is a mutual give and take may arise from impressions, experiences and incitement to act. That gives her paintings that distinctive lyrical and poetic aura.

However, it is not only the header is an open process that principle. She goes even further. Also watching the work is, what its subject, an equally open and smooth process. Within that dynamic and open look, you as a viewer is invited to you to wonder whether this work is and what “off” actually is. Also, however, as to whether the work may be more when it speaks on its head or his hand. And, when the two-and three shutters, or the various components thereof in another combination possible and maybe also can be swapped among themselves. Why wouldn’t it be? What law States that it can’t? It comes to the open and widen each of watching and painting, in other words, the open and fresh keeping perceive and act.Fundamental to Rineke head is to, each time she paints, to create space for a living totality, an expanding experience of feeling, acting and acting are present. Maybe you should say, a field of feel, perceive and act. That makes the basis of her work to a very essential form of, namely as a form of. Working with figuration or very pronounced forms is therefore contradictory, because form and figuration retaining something instead of opening it. What all correct though space offers to open and flow, water-Ness, his qualities as color, transparency, unpredictable carriers and a free, untethered locomotion.

It is certainly not the case that headline with this method “but what does”. Anyone who has painted, realizes that the challenge precisely is very large, completely without any handheld, what there is to let go. Decorating or something to a goal, is so much easier. This method requires a high degree of responsiveness and the ability to relax to remain present, without lapsing into intentions or ‘ kunstigheid ‘. A key element within this way of working is the attention to sink into her body. And then not her body as study object, but her body as the ervarende ‘ inside ‘ of reality, the inside of a field of perceive and act. When Heading in this way may be present, then there a deep spontaneity where they only can be when they witness this allows to act.The hair quality and experience as an artist that draws them out this process can steps away and critically, if the painting is still not good, so in steps can again. How to open and smooth the operative process also let them, it’s already looking that she decides when the painting has reached its optimal expressiveness, so that it is completed, while it retains the freedom and sensitivity her work so recognizable.

Vincent Botella