The main studio of Bert Brus where most of of the painting has been done. He himself calls it the wet studio.

Bert Brus (1964, The Netherlands) took to drawing and painting as a toddler and has been doing so ever since. As a student chemistry he sold pen drawings to make ends meet. He is a master in various techniques (pen drawing, watercolor, oil painting and etching) but nowadays concentrates on oil painting.

He lives with his family in the more rural eastern part of The Netherlands.

 

Like the Surrealists painting from dream analysis, Bert Brus uses the images coming to him just before dropping off. This period of complete relaxation offers a perfect opportunity to wonder about the beauty and humor of our daily life.

 

“Dreams originate in reality, the images I use, summarize my reality”

 

Those images are at the base of his paintings. Sketching he catches the image’s effect and character, making sure there’s some sort of balance or rather imbalance, between its meaning, composition and color. It’s this imbalance that betrays Brus’ great sense of humor. Of course every spectator will judge differently but the process of finding out how the painting agrees or disagrees with reality, guarantees a dynamic experience.

 

 

 

 

Memories of visits to the beach.
A surrealistic view of a balcony mwith a small red cube
The second studio of Bert Brus where most of of the creative process takes place. He himself calls it the dry or drying studio.

Emily Ansenk M.A., director of the Kunsthal Rotterdam:

“His work displays elements of magic realism and surrealism; this shows in the use of cool colours, light and the peculiar atmosphere. Nevertheless his paintings are never cold or bleak. He’s not afraid of emptiness and his paintings convey calm and tranquility but never bleakness or solitude. One is perhaps forced to ask questions but is never alarmed. These various aspects show clear parallels between Brus’ work and that of Pyke Koch, Carel Willink, Giorgio de Chirico and René Magritte.

Just like the artists named above, Brus takes reality as the point of departure for his work,  but then abstracts, with attention to division of surfaces, composition, light and colour. I see in this a remarkable resemblance to the work of Co Westerik and Jan Beutener, who, in their work, magnify objects and body parts and search for the boundary between realism and the abstract.”

 

 

Jeroen Krak, owner Galerie NUMMER40:

“Bert Brus is best known for his almost realistic paintings, but he has also successfully explored more abstract, non-figurative alleys. Using his skilful oil paint techniques, he has created a very personal and authentic vocabulary of two dimensional compositions with simple geometric forms. The observer however is fooled by the subtly added bright accents and shadows and therefore initially perceives the abstract works as true three dimensional constructions. The artist’s use of these techniques in combination with the simple forms shows that he totally understands the concept of perspective as originally described by the 15th century Italian architect and art theorist Leon Battista Alberti. In a sense his abstract works are optical illusions in the Dutch tradition of M.C. Escher combined with the simple forms used by Minimal Art icons like Donald Judd and Carl Andre.”

 

 

Esther Nienhuis M.A., historian:

"Fragments from his immediate surroundings are the basis of Bert Brus' work. He is able to bring together in a coherent oeuvre diverse motives, such as man, nature and architecture, the binding element being the abstract concept ‘time’. Brus plays with this concept in various ways. He sometimes portrays time in asymbolic fashion, like a bridge that connects the past to the present and sometimes he just tries to express ‘timelessness’.

Even though he paints in a realistic style and his images refer to the world around him, the artist feels it is of great importance to give an original twist to reality. He does this by using abstraction and he also feels it is very important to summon up a specific ambience. He is able to bring an alienating tranquillity to his work through the conscious use of light and colour and by not being afraid to use a certain amount of vacuity."

 

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