‘The clouds are charging colour (version 2)’ is an adapted sequel to the preceding namesake exhibition, focusing on the dialogue between works by Willem Hussem (1900-1974) and other artists. While in the previous version Hussem’s work was also contextualised with that of his friend and contemporary Piet Ouborg (1893-1956), version 2 focuses solely on the juxtaposition with four artists from the current generation.
During his lifetime Hussem never concerned himself with artistic movements or styles, although his work did align with prevailing trends during certain periods. Over time, he shifted from figuration to a middle path between expressionism and constructivism, to finally arrive at geometrical abstraction.
The disinterest in restricting oneself or adhering to a single style, is something that is quite familiar to artists of the current generation. Experimentation or the blurring of boundaries is much more common nowadays. In the main space of the gallery works by Hussem from different periods in his career are combined with the work of four of our represented artists; Paul Beumer (1982), David Roth (1985), Alejandra Venegas (1986) and Wieske Wester (1985). They cannot say to have been directly influenced by Hussem, but – each in their own way – do seem to share his mindset and predilections.
Dutch artist Paul Beumer spends long periods of time in South East Asia and works with textiles from non-Western origin, for Austrian artist David Roth working outside in nature is an important part of his painterly practice, Mexican artist Alejandra Venegas works with various kinds of wood indigenous to her country, Dutch artist Wieske Wester’s works straddle the line between figuration and abstraction. Their practices are not concerned with making sweeping statements, but with finding inspiration in the world they inhabit, an ongoing quest for simplicity and poetry. Juxtaposing their works next to Hussem makes for unexpected similarities and contrasts and proves Hussem’s ongoing legacy. Hussem met kindred spirits during his lifetime, but in spirit he still does so today.
A table with archival material from Willem Hussem’s estate has been compiled by Yannick Balk, who is also the author of the essay accompanying the first version of the exhibition, which can be read here.
