Corne Akkers

The Carolingian Chapel – 30-06-18, Drawing, Pencil/Colored Pencil on Paper

2018

What’s Next? This graphite pencil drawing ‘Beek – 26-06-24’ is a carefully combined and planned mixture of impressionism and cubism. What do you think of it? Let me put do...

De Koepel (The Dome) at Voorburg – 01-11-18 When I go to teach at Studio Brugman, atVoorburg I often come across The Dome (De Koepel), situated in the middle of estate ‘Vreugd...

One thing in another – 05-01-19 In my egyptian series I try to excavate treasures from the past. Like I said before I see strong resemblances with Egyptian art that presented hu...

Veere - 04-04-19 Last weekend I was walking through Veere at Zeeland, Netherlands, a little pittoresque town. I returned to my car when I saw the sign 'city wall tour' and I decid...

"Church" 1943s is an original pencil and pastels drawing on ivory-colorated paper, glued on cardboard, by Anonymous Artist of XX Century. In excellent conditions: As good as new. Sh...

The Church is an original modern artwork realized by Andre Roland Brudieux Original drawing in pencil on paper. Hand-signed on the lower right. Good conditions. Passepartout: 69...

ink and pastel on 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 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...