‘To me being an artis gives me the freedom to choose my own way of expression and the result of it. You can conceive the paintings as an intense expression of the will to live.’
Although Jaap Roose (Noordhorn, 1960) has painted commisioned and made objects himself for a period, the painting of still lives inspires him the most. He preferes to paint vegetables, fruits or other organic elements. They are soft of shape and they still have life in them. He lookes at the structure, form, color and lighting. The character of an apple, pear, lemon or turnip sometimes makes him think of human characters and worth the while to pay attention to.
That also goes up for a peace of fabric. How the fabric is shaped, the pleats and the shadow: al these elements can fascinate the artist. A still life is the most complete when he can combine different elements. He preferes to include a rough shape, like a bowl or a basket, in the painting together with the fruits and a sheet. The softness of the shapes of the organic objects is even more emphasized by that. For example we can see this in the still life with oranges, where the sensual orange peel is in contrast with the fabric and the texture of the basket. And the blue and green backbround even strengthens this contradiction.
Roose doesn’t paint primarily for the depiction itself, but to overcome the struggle with the material. He searches for the right balance of colors and shapes and to depict the texture of the material in a natural way without getting too distant. For example in ‘Cello’ it shows that the instrument is laying on it’s belly and isn’t shown in all it’s beauty. It’s laying on a wrinkled white sheet, like it has been put there quickly because of an urgent reason, with the fiddlestick next to it. The instrument is depicted very detailed. The painter thinks that details are necessary to give the painting the natural look he is aiming for. In contrast, he depicts the background in a neutral, contrasting color which brings the depict to the foreground. To Roose painting is partly a fight to keep his concentration, a tiring process which luckily often merges into a deep concentration that passes when it starts to glimmer or when he gets interrupted by something.
Every painting is different. First he has the right composition, sometimes it takes a long time before he’s pleased with it. What follows is a constant reconsideration of the lighting, the shadow and the reflecting of the light on a specific shape. Sometimes it will take him half of the day to be pleased with how he painted a specific element and sometimes he is satisfied immediately. Despite the fact he has been a professional painter (autodidact) for over ten years, he still feels like he isn’t done learning.
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