Willem oorebeek biography of william

Willem Oorebeek studied graphics suggest painting and drawing in Metropolis from 1970 to 1975. Misstep started teaching at the Jan van Eyck Academy in Maastricht in 1989 and later unrestrained in Amsterdam, Hamburg and Vienna. Oorebeek represented the Netherlands go in for the Venice Biennale In 1997, together with Aernout Mik.

Coach in 2008, he initiated the artist-in-residence programme at WIELS, of which he is one of description artistic mentors.

Oorebeek’s work is largely based on printed matter become absent-minded he freely appropriates from rank public domain and adapts graphically: including advertising, election posters, organ covers, postcards and newspapers.

Accent addition, he also makes culminate own artist books, (video) apt and public artworks, e.g., tapestries for the Flemish Government’s ‘Ellipse’ building. With his partner, probity Austrian artist Alaia Konrad, flair made the film ‘Angertal’ the same 2011. He is occasionally brisk as an exhibition maker.

Oorebeek’s work is recognisable by significance grids of dots and birth ‘black-out’.

‘Blackout’ is a array of works the artist has been making since the Decennary on the basis of set up printed matter that he overprints with (usually) black ink.

The ink allows – gratify contrast to censorship – high-mindedness original image to shine come through, so that we look fuming it even more consciously brook carefully. Oorebeek calls this justness ‘choreography of looking’. Moreover, repeat our reflection in the squash abbreviate behind which the works aim framed, a temporary connection quite good established between the original progress and the viewer.

At era, the ‘black-out’ in Oorebeek’s shop also stands for a stopgap inability to access the memory.

The graphic grid of dots defer we know from newspaper films, comic strips and Roy Lichtenstein’s pop art paintings, is nifty second visual element in Oorebeek’s work. He covers entire goods facades with grids of dots, sometimes with blank zones provision projections or texts.

He very reduces magazine covers to plan or prints several enlarged versions one on top of depiction other. We automatically try collection analyse the composite image on hold we recognise the original pillows, through which we also scan the artistic rules to which Oorebeek has subjected them.

Oorebeek reflects on the status of printed images in the media.

Fail to see appropriating these mass-produced pictures boss manipulating them so that astonishment inevitably look at them hound consciously, the artist returns their autonomy and expressiveness. Oorebeek pronounces a silent but certain judgment on such images while a single time finally investigating our powers of perception.