Robbie Cornelissen

Monument for Napoleon

2015

In the series of works called Me(n)tal Perspectives, the visual play of perspective on and behind the surface is emphasized. My works consider such notions as individuality, mass, an...

In the series of works called Me(n)tal Perspectives, the visual play of perspective on and behind the surface is emphasized. My works consider such notions as individuality, mass, an...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova, a dark and desolate world parallel to our own. Robbie Cornelissen’s drawings, such as The Space of Absence and Thriller, seem to pull from the stop motion’s frames. Other images, made especially for The Undertow isolate key fragments; the cloud, mounds and timeless dwellings, Cornelissen’s signature technical interest. In addition to his methodical approach, Cornelissen uses the written word, scrawling and erasing terms repeatedly, in English, French, and German, these fastidious markings and exact translations leave a trace and a glitch on paper and screen. Much of his existing work includes words and phrases like “tribunal,” “myself when I am real” and “the need to disappear.” Do they identify what forms, systems and sentiments that are, or could be present? Or do they warn of what is to come? Suspended in the atmosphere of a planetary body, Cornelissen’s clouds extend down to the surface, looming over Earth and Terra Nova. But are they harmless clouds, or associated with nuclear explosions? And is that the ash, dust, pollution and detritus of these invented places, the remnants of an unsustainable society, a dream factory? Or the promise of life anew? In weather forecasting, or aeromancy, the presence of clouds can promise darkness and gloom, but they can also bring cleansing. The ominous aura of the grid, an applied system and structure used by many, including draughtsmen, architects, urban planners, designers and artists to organise and sometimes classify information, is a recurring element in his work. The grid can be observed from a distant bird’s eye view, or close up, allowing Cornelissen’s large format drawings...

3 sheets of A-4 sized paper. “I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working ...

Bio: I was born into a family which valued artistic and craftsmanly work, so from a young age I developed an interest in drawing. A strong sense of history and culture was important ...

Bio: I was born into a family which valued artistic and craftsmanly work, so from a young age I developed an interest in drawing. A strong sense of history and culture was important ...

The female figure in Oliver Benson's "Lady of the Temple" is drawn in exquisite detail. This fine drawing is floated on a mat board and framed in a silver frame measuring 11h x 8.25...

Rick Sindt's knowledge of the male physique is evident in this exquisite drawing of a nude male. The subject sits on the ground with his body twisted away from the viewer. We see the defined musculature of his posterior. The artwork is framed in white wood with a black mat. Rick Sindt The Body is a History graphite on archival paper 12h x 9w in 30.48h x 22.86w cm RIS026 Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

The two nude female figures appear to be asleep. The calmness of the piece is accentuated by the fine pencil drawing. The piece is unframed. Contact the gallery for framing option...

"Dogpatch 2011" is an original graphite on paper drawing by Kevin Cyr. The piece ships ready-to-hang in the pictured wood frame and measures 12”h x 18”w. "In a culture in which pe...