Zaida Oenema

200 grms drawing paper acrylics, color pencil cut manually with scalpel

colorpencil on hanemuhle sumi-e paper / manually burnt with soldering iron

with changing your viewing angle, the work 'moves' / becomes different

with changing your viewing angle, the work 'moves' / becomes different

Acrylics gesso and pastel, glue on d’arches paper

detail

Oilpastel on Inshu Kozo paper Manually burnt with soldering iron.

color pencil on paper manually cut with scalpel

Inshu Kozo paper burnt manually with soldering iron.

With me, the past, present and future flow with one continual river so that what I do today impacts some more distant event downstream, even as the things that come down your way today have their routes entwined in the far distant past. Time is of essence. Time calling you now to sit and be. Let me be the chronometer that keeps the time and the metronome that strikes the balance in your days. (Poem by Robert Weston) more info on my website

detail from Time is of Essence

Inshu paper / graphite / glue burnt manually with soldering iron

Over the last year(s) I’ve been collecting words from artist statements, text about artist written by curators, galleries, wall texts in museums etc. Next to an overload of art-jargon, some words are used notably often. These are words that assign something to the work or the making of it. Words that – when just piled up on top of each other – sound more interesting than that they really convey meaning and therefor loose their strength. But used separately and with care, they have the power to actually give meaning to the work. It is about words like “anticipate”, “relate”, “essence”, “meaning” or “perceive”. They all want to say something about the deeper meaning of a work, convey an intention or purpose. This is of course exactly what these texts are meant for – to articulate the essence of the work. Sadly many tekst are full of these words without ‘getting any further’ than their own ‘importance’ as a means to sound eloquent and interesting and not making real sense about the work itself. Even though these words in themselves are really strong and beautiful. For my cookies I’ve used a selection of these words, as a statement because I think they are used too randomly in texts just to make it ‘look nice’ and seemingly interesting; just like a sugar sweet layer of glazing…