It was a long time on my wish list and ia finally could fullfill this wish. Since i met Floor van Keulen at the Haags Gemeentemuseum where he painted the “Project room” at the Haags Gemeentemuseum in 1989.
His wall drawings are extremely large narratives. You can discover human figuren, weapons, books and landscapes all within the same wall painting/drawing. Connected with eachother by more figures and objects, resulting in an almost abstract painting, but with so many details that are realistic. His stand alone paintings are scarce. Most of the time lare/extremely large and where his small drawings are just sketches and exercises for the large wall drawings. His paintings on paper are true paintings. Where his wall drawings are most of the time removed or painted over. His large “paintings” are permanent and one of these , from 1987 , i now have added to the FTN art collection.
The following text was found on the Piet Heen eek site and shows a different approach to his art.
Human figures and cartoons are the only motifs in the repertoire of drawings created by Floor van Keulen since 1980. They appear to be randomly spread across the surface, components of a well-balanced composition without any specific meaning. Shapes effortlessly melt into one another, debate with each other; emotions occasionally flare up, only to harmoniously merge together afterwards.
Floor van Keulen appears to shirk from the formal experiment, the abstract art experiment, in which realistic and figurative art that set the tone for hundreds of years is brushed aside as a truly relevant form. Van Keulen does not allow himself to be drawn into movements or trends within contemporary art. He has developed his own unique vision and confrontational visual language in which figurative depictions are interwoven with abstract shapes.
His art originates in his imagination and reality. He uses the ‘vocabulary’ he has put together through the years to formulate a vision of the world around him. The viewer encounters the virtuosity of the image and gets carried away in the painter’s exuberant gesture. On closer analysis of what it is exactly that affects the viewer so strongly, he or she first focuses on the pattern and motifs, attempting to decipher the artist’s story by interpreting the figurative elements. Only later does he or she discover that it is the work as a whole that is key here, the total emotion, not the details, form and contra-form. At first glance, the work appears to be expressive, but on closer inspection, clearly has a more subdued character and is carefully balanced and considered.
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