|Guus van der Velden|
|Hans op de Beeck|
Since then this has happened quite a number of times to me, where I've made an attempt at a work and abandon it, only to find the exact same principle shown in a museum or celebrated at some other large exhibition.
|de Rijke / de Rooij - Guus van der Velden|
|Ger van Elk - Guus van der Velden|
|Silvia Bächli - Guus van der Velden|
|Charbel-joseph H. Boutros - Guus van der Velden|
It must also be said that I haven't always had the best documentation of these ideas, as I most commonly wasn't particularly enticed by what I have done. I mean, finding that straight copper can be bent easily by hand isn't exactly the kind of discovery that every artist hopes to find one day.
|Chaim van Luit - Guus van der Velden|
Upon arriving in Montreal, the first museum I visited was the MAC and there they had a big work by Simon Hantaï hanging in their lobby.
So when I got home, I crumpled up my paper once again and threw it in the trash.
It has been somewhat difficult for me to write this post, as it meant that I had to showcase some ideas that never left the studio and often were never meant to leave the studio. At the same time this post can easily be mistaken as a way to belittle the ideas of other artists, by claiming that I had similar ideas when I was sometimes very young. I don't believe that this is the case though, as material execution still is the most defining characteristic of a work and in almost all cases my own execution has either been lacking or was non-existent.
Nevertheless I must admit that in the past I have at times felt frustration about these occurrences, although now I see that it is a simple and perhaps unavoidable consequence of my own approach when conceiving work. I nearly always try to see all the possibilities of a certain material or situation, to then try and find an alternative or uncommon way to approach the subject, while still retaining some amount of internal logical consistency. As I also believe that this a common practice of art in general, I shouldn't be surprised to find that some other artists have found similar and somewhat commonplace possibilities to what almost always are readily available materials.