Corne Akkers

Veere - 26-03-20, Drawing, Pencil/Colored Pencil on Paper

2020

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...

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...

Nieuwe Veenmolen - 19-10-17 A drawing of the 'Nieuwe Veenmolen' (MIll 'Nieuwe Veen') at The Hague, a place around the corner from where I live. I liked to depict the plants on the...

Veere – 24-03-20 These unusual times cause people to search for new ways to keep their minds busy. Some told me they binge watch or take virtual tours online, others turn to boo...

An atmospheric and moody watercolour landscape showing a Standermolen (Dutch windmill) in a darkened, brooding landscape. The painting is unsigned and presented in a handsome early t...

Landscape is an original pencil on paper realized by Marcel Mangin. Signed on the lower right. Good conditions except for a trace of humidity on the up...

“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...

This artwork titled "Schemerthorn Windmuhle, Holland" c.1950 is a color etching on Wove paper by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed in pencil by th...