Oil, posca & church

A solo project at campus d'Alzon in Nimes, It included three parts: the church, the marble dust window, and a body painting exhibition.

in this part, the large paper works were covered with heavy black oil color and the white lines were made with an acrylic posca pen.


Published by ACEC foundation, Apeldoorn NL © 2017 Participating Artists.

With PHK18, SNO, Transmitter, LOOK&LISTEN, De Witte Mier, Studio de Pal, Municipality of Apeldoorn.

Photos by: Herman Hendrix, Andrew Leslie, Julia Gat, Carl Gunhouse, Wytske Avernik, Jasper van der Graaf.

Design: Ariette Brouwers & Koos van der Meer www.studiodepal.nl

Printed by Drukkerij Manuel

PHILIP GUSTON AND THE POETS, Gallerie dell'Accademia, Venezia.

I visited the Venice bi-annual twice before only to be disappointed by the little amount of good painting to feed my eyes and soul. This year I went because I heard about the PG exhibition.

I was not disappointed.
I spent the entire day at the ‘Accademia’, leaving and returning, three times, till the gallery was closed. its a rare event for me, since I never saw a full retrospective of his work before. even in the last round, it all looked new to me, and I hadn't stopped discovering new details.

I am posting first his details separately since I think the quality of the details asks for it, the line/surfaces, the dry/wet strokes, the thin/thick layers, the colors, the scale variation, the up/down/left/right games in his crystal clear compositions. i wasn’t familiar with his red/light blue duotone, and since i use it often, i was excited to find it there.

Every question I ever asked my self as a painter he has answered in those details.

The second part here is about his wife. i loved the work called 'night' with their two heads floating in the big black sea. its roughly 400x300m, so mostly waves and b&w. it resembles another composition in the room, same size but with a sun up on the left above were their heads are. He also illustrated some of her poems. A beautiful series of Four squares around 60x60 panels of a hand nudging a book or a pink clock. one item at the time, not big stagings like the big works, but so clear, its shocking.


The third part is about the case of his vocabulary evolution, the change of style, in which he answers to simply, it is beyond the point, my only concern is to stay alive, in a state of painting, the rest is not my concern.

De Kooning joined in and said, this is not about politics or anything like it, its simply about freedom.

the second video explains just that, what is that freedom and how to go there. first when you enter the studio everyone is there with you, critics, dealers, other artists etc, than they leave one by one, than you leave. thats were painting happen.


Books recommendation :

Laterna Magica 2017 - Théâtre du Centaure - Fotokino, Marseille.

This experience has been a pleasure. I was a FOTOKINO fan since I first arrived to the south of France and was excited to receive their invitation. Not only I loved working with their team I also appreciated the offer of working in such a beautiful space: Théâtre du Centaure, Marseille.

Drawing: Yifat Gat

Music: Virgil Abela

Centaure: Manolo

photos & Video: Julia Gat

In December 2004, Fotokino proposed the first edition of Laterna magica, a transdisciplinary and undisciplined event offering 4 weeks of images and imaginations in Marseille for everyone. Exhibitions, screenings, workshops, meetings ... Since 2013, Laterna magica integrates the official program of the European Capital of Culture and is available throughout the year.


Théâtre du Centaure is a family of equines and humans who have built together a community of life and creation. Village, stables, workplace, ten people, and ten horses work every day to achieve a utopia. Obviously, the Centaur does not exist. It is the utopia of a relationship, a symbiosis to be one to two. "It is impossible because it is a utopia"


After the performance, we added white surfaces all around and the public drew with their fingers on the windows. it was an amazing moment, since it became very clear that painting could never die since people of all ages origins and background were drawn to the action. it's clear that drawing lives in all of us, we just need to create the right context to release it...

139 x Park, Tilburg.

The exhibition is based on the blog Nothing But Good, an initiative of René Korten, Reinoud van Vught (both members of the PARK working group) and Michael de Kok.

On the blog 'Nothing but good', artists are invited from all over the world to talk about their work in relation to a dead artist's work. showing that they are in a tradition. They connect with an artist who no longer lives, but who had great influence on their work.

with : Ky Anderson (US), Linda Arts (NL), Marjolijn van den Assem (NL), Andrew Baron (US), Yves Beaumont (BE), Paul Behnke (US), Simon Benson (UK/NL), Dick van Berkum (NL), Karl Bielik (UK), Alain Biltereyst (BE), Paul Bogaers (NL), Thomas Bogaert (BE), Valerie Brennan (IE/CY), Koen van den Broek (BE), Hans de Bruijn (NL), Mynke Buskens (NL), Jean-marie Bytebier (BE), Caren Canier (US), Tom Claassen (NL), Aquil Copier (NL), Paul Corvers (NL), Lisa Couwenbergh (NL), Andrew Crane (UK), Anthony Cudahy (US), Vincent Dams (NL), Klaus Dauven (DE), Lieven Decabooter (BE), Johan De Wilde (BE), Piet Dieleman (NL), Bruno Dunley (BR), Henk Duijn (NL/FR), Anet van de Elzen (NL), Hadassah Emmerich (NL), Joseba Eskubi (ES), Kris Fierens (BE), Matthew F Fischer (US), Anne Forest (NL), Ruth Freeman (US), Yifat Gat (IL/FR), Peter Geerts (NL), Julika Geissler (DE), Robin Gerris (NL), Fik van Gestel (BE), Joris Geurts (NL), Bernard Gilbert (BE), Harry Haarsma (NL), Bettie van Haaster (NL), Jasper Hagenaar (NL), Harm Hajonides (NL), José Heerkens (NL), Caren van Herwaarden (NL), Lesley Hicks (UK), Luc Hoekx (BE), Seet van Hout (NL), J&B (Bert Frings) (NL), Henri Jacobs (NL/BE), Wil Jansen (NL), Arjan Janssen (NL), Nour-Eddine Jarram (MA/NL), Matthias Kanter (DE), Bas Ketelaars (NL), Bram Kinsbergen (BE), Hans Klein Hofmeijer (NL), Michael de Kok (NL), Claudia Kölgen (NL), Rabi Koria (SY/NL), René Korten (NL), Arno Kramer (NL), Rens Krikhaar (NL), Christiaan Kuitwaard (NL), Theo Kuijpers (NL), Gabriëlle van de Laak (NL), Katinka Lampe (NL), Rudy Lanjouw (NL), Suzanne Laura Kammin (US), Jorn van Leeuwen (NL), Jai Llewellyn (UK), Bart Lodewijks (NL/BE), Bert Loerakker (NL), Margriet Luyten (NL), Damien Meade (UK), George Meertens (NL), Janus Metsaars (NL), Rob Moonen (NL) , Wladimir Moszowski (BE), Charlotte Mouwens (NL), Thomas Muff (CH), Mai van Oers (NL), Olphaert den Otter (NL), Rob de Oude (NL/US), Elka Oudenampsen (NL), Alex Paik (US), Tom Palin (UK), Jan van de Pavert (NL), Stijn Peeters (NL), Stefan Peters (BE), Tinka Pittoors (BE), Uwe Poth (DE/NL), Har van der Put (NL), Anke Roder (NL), Gideon Rubin (IL/UK), Willem Sanders (NL/IT), Serban Savu (RO), Simon Schrikker (NL), Ward Schumaker (US), Martijn Schuppers (NL), Marena Seeling (NL), Joseph Semah (IL/NL), Bart Slangen (BE), Roland Sohier (NL), Attila Szűcs (HU), Johan Tahon (BE), Toon Teeken (NL), Josine Timmer (NL), Sabine Tress (DU), Elizabeth de Vaal (NL), Nico Vaerewijck (NL), Luc Vandervelde Lux (BE), Rinus Van de Velde (BE), Bart Vandevijvere (BE), Johan Van Mullem (BE), John Van Oers (BE), Amy Vensel (US), Sarah Verbeek (NL), Ágota Veres (HU), Toon Verhoef (NL), Koen Vermeule (NL), Jorge Vicen (ES), Henk Visch (NL), Cecilia Vissers (NL), Jop Vissers Vorstenbosch (NL), Reinoud van Vught (NL), Wim Wauman (BE), Lutz Weidler (DE), Isabella Werkhoven (NL), Mathieu Wernert (FR), Hans de Wit (NL), Marthe Zink (NL), Albert Zwaan (NL)

Fotokino workshop @ klap Marseille / #DanseDessin

This year I was happy to participate at the local FOTOKINO festival Laterna magika 2017.


We held two DanseDessin workshops at The klap - a dance center in Marseille.

We played with tape, marble dust, paper cutting, poska on photocopies of dance pics and had much fun ...


marble dust

paper cuts

we drew with poska on dance images of the klap and hanged an exhibition on the wall

Thank you all who participated ! big and small...

pics by julia gat

Around "Seasons : Etel Adnan", Espace despalles Paris.

Opening 19.10, my second collaboration with at Espace Despalles, Paris. Last year I curated there the exhibition #BringSomethingPink. this year I was looking to create a more intimate ensemble.

When I first visited Johannes Strugalla's exposition, I fall in love with the book he created. 'Seasons' is a collection of poems by the great Etel Adnan, with woodcuts by him.

I asked three painters to join me in responding to this beautiful book, the expo will feature works by Gabriele Herzog, Marion Piper, Jordan Madlon, and my own.

Johannes Strugalla, Espaces Despalles editions and gallery, Paris.

Gabriele Herzog, Berlin.

Jordan Madlon *winner of the L&L prize for Jeune Création 2017

Yifat Gat

Marion Piper, London



Around "Seasons : Etel Adnan", Espace despalles Paris.

Johannes Strugalla, Marion Piper, Yifat Gat, Gabriele Herzog, Jordan Madlon*

*winner of the L&L prize for Jeune Création 2017

Opening : 19 October 18h

Espace Despalles
16 rue Sainte-Anastase
75003 Paris


What are you grateful for being a painter ? #2 - by Valery Bremen


Valerie Brennan / Paphos Cyprus

I am grateful for the solitude and space being a painter. When I am in my studio working I feel in the present, in the moment and alive. I love the openness of process when I paint. Painting feels fundamental to who I am, second nature and it feels authentic. I am grateful that I am still learning

Lucy Mink Covello / New Hampshire USA

I am grateful for Steve, Gianna and Nico. I am also grateful I saw so many friends this summer. I was with my kids outside a lot this summer and inside. I watched my son learn how to fish. I am grateful to be able to go slower as a parent and a painter because things sometimes feel way too competitive and too rushed and that's not where I am. I am grateful for this summer with two kids who are not yet teenagers. I have still managed to paint in between hours here and there and during random days if they were both somewhere else.

Sabine Tress / Cologne Germany

Without wanting to be overly dramatic I must say that I don´t know how I would be able to cope with life without having my studio and my work. It´s more than just an excuse for being able to hide away from the world outside. Being a painter allows me to evolve, understand, sulk, laugh, lern, dialogue and rest. Every day is a step forward even if it sometimes does not feel this way. Yes, I am absolutely grateful for being an artist.


Susan Carr / Massachusetts usa

Painting a poem called  “I am grateful”.

Painting is the moon and I am starting to howl

Painting floating inside of my teacup six in the morning OM

Painting in dusky fingered roses the sea laps my ankle

Painting on the blackboard painting on the test painting no cheating

Paint me another round and make it ultramarine this time baby

Bottom of the ninth bases are loaded and I’m up to paint

Painting fleshy pink knobby knees up to my nose nipple coral red round the top

Painting faster, faster running out of paint

Paint flickers deep in cave wall images of paint in four legs and two

And the wind cries paint

Just one more paint, just one more paint, just one more paint, just one more

If I only had a little bit more paint

In the forest of paint chop wood carry water

Tricky inclusive ironic clumsy chewy frenzied subversive highbrow lowbrow talky talk talk

Paint is on the menu   

Painting next time will be the best time because this painting is almost the one but not quite, not quite

Painting dressed in black without a sound snatching the jewels under cover of night

I am not old; I am not young I am merely a painter

Painting between two day old pieces of bread painting instead of a glass of milk

Watching painting it is a very good show

Sleepy now will cover myself up in old paintings to keep warm

Hey how come you are so poor? Painting stole me away

The dream of more paint it started like this

Julia Schwartz studio 2016.jpg

Julia Schwartz / Santa Monica Ca

I am grateful that I have a community of friends, mentors, and heroes who have become 'my people.' Even though we so often work in solitude, it is good to know there are others out there. 
It's also good to have an all access pass to art, and that can take many forms- virtual looking; seeing/being/taking in the world- light/air/sound/color; and especially the making. Making art takes so many forms- from luscious oil on linen to the low-brow dirty paint water on scrap paper, and everything in between.  
Art can teach, can hold, can transform, and be transforming. I am immensely grateful for that in this simultaneously long night's journey and too-brief existence.

me in studio taken by Denise Sfraga.jpg

Mary Devincentis / Brooklyn NY

It took a lot of years but eventually I realized that being grateful is a state of mind which can be cultivated. So, on a meta-level, I am grateful to have made that discovery and put it into practice.

As an artist, I feel grateful for the entire arc of my life, the good times and the difficult ones, the losses as well as the gains, the highs and lows, the hard and the easy, the beauty and the pain. Because every experience, every struggle finds its way into my work, where there’s a chance some part of it may hold resonance for others.

The freedom that is possible living as an artist is something I deeply appreciate, including the freedom to develop and express a personal vision and the freedom to create my own schedule, structure and pace.

I am grateful for the contemplative aspect of an artist’s life: the spaciousness in which to ruminate, daydream, imagine, be silent, receptive, and solitary.

Until fairly recently I worked in relative isolation, with just enough time of my own to paint and not enough time to seek out and nurture fellowship and affiliation, so I am profoundly grateful now to feel a part of a vibrant and welcoming arts community.


Bonny Leibowitz / Dallas tx

I’m grateful for a rich studio practice. Making work grounds me and allows me to explore, discover and take risks. I’m really grateful to recognize where the work wants to go and for being responsive. So compelling; the way the mind opens up, how perceptions shift and something new emerges out of memory and history.

I’m grateful to experience the work of others, online and in person. I love the way a piece or body of work can so directly speak to the gut, it’s an unexplainable bond with the work and the artist. How fortunate to connect and dialogue with a community of thinkers and makers.

studio selfie.jpg

Rebecca Young Atlanta, Ga / Huntsville AL

My painting is the only place I am able to be my complete self.  Good or bad its the only thing that gives me a complete sense of accomplishment.....a complete sense of me. I think its pretty incredible that through my own language and understandings I am able to create this whole other world that I am able to experience who I really am and share it with others.  Letting out all my awkwardness and quirks, allowing chaos to be chaos,...  "my world exists in my painting"!!


Yaara Oren / Tel Aviv

  1. For the fact I found an occupation in which staring and observing are an advantage and are not considered as being distracted or daydreaming.

  2. For the fact I get to keep on playing.

  3. For the fact that my fellow artists are creative, thinkers and sensitive.

  4. For the possibility to do things exactly as I think they should be done without the need to settle or satisfy anyone.


Magda Dadziak / Chicago

I’m grateful for the ability to do what I love (even when it gets frustrating, impossible and hard), to be able to express myself freely, and to be able to spend time working in the studio problem solving and playing around. I’m grateful for quiet time alone, solitude and to be able to spend hours working and contemplating.  I’m grateful for artist’s communities, meeting other artists, exchanging ideas,  having a dialogue, being inspired. And I’m thankful for my supportive family and friends.

Kimberly Rowe / Berkeley CA

I am incredibly grateful for having the ability to paint.  I feel like I’m so rich because of it.  I look back and remember when I began studying art and felt removed from it.  It was something outside of me.  I wanted so badly to be in a place where art was my life, but I was observing more than being.  I did assignments and didn't have a particular point of view.  Yet I couldn't help but keep plugging away.  I think of the title of a book by the late Wayne Dyer, You’ll See It When You Believe It.  It seems to me that it took me so long to get to a place of truly believing it.  And then somewhere along the way I must have crossed over the bridge.  I enter my sanctuary when I walk into my studio.  It is the place where I can make my own magic.  I always feel like I’m dancing and playing, even though there are times of hard work.  Painting is being totally present.  It is being intuitive, improvisational, and discerning at the same time.  It is accepting and expressing my own power.  I feel a sense of complete freedom and joy; I feel like I can do anything.  Since I began painting, I have transformed my own being and gotten to know myself on a deeper level than ever before.  What an incredible gift that is.