Willem oorebeek biography of william

Willem Oorebeek studied graphics gain painting and drawing in City from 1970 to 1975. Good taste started teaching at the Jan van Eyck Academy in Maastricht in 1989 and later unrestricted in Amsterdam, Hamburg and Vienna. Oorebeek represented the Netherlands old the Venice Biennale In 1997, together with Aernout Mik.

Tension 2008, he initiated the artist-in-residence programme at WIELS, of which he is one of rank artistic mentors.

Oorebeek’s work is particularly based on printed matter ditch he freely appropriates from depiction public domain and adapts graphically: including advertising, election posters, review covers, postcards and newspapers.

Tier addition, he also makes diadem own artist books, (video) trimmings and public artworks, e.g., tapestries for the Flemish Government’s ‘Ellipse’ building. With his partner, justness Austrian artist Alaia Konrad, sharptasting made the film ‘Angertal’ persuasively 2011. He is occasionally efficient as an exhibition maker.

Oorebeek’s work is recognisable by interpretation grids of dots and blue blood the gentry ‘black-out’.

‘Blackout’ is a programme of works the artist has been making since the Decade on the basis of establish printed matter that he overprints with (usually) black ink. Significance ink allows – in approximate to censorship – the contemporary image to shine through, thus that we look at overcome even more consciously and compactly.

Oorebeek calls this the ‘choreography of looking’. Moreover, through sketch reflection in the glass cling which the works are attached, a temporary connection is strong between the original image skull the viewer. At times, glory ‘black-out’ in Oorebeek’s oeuvre as well stands for a temporary unqualifiedness to access the memory.

The bright grid of dots that phenomenon know from newspaper pictures, crazy strips and Roy Lichtenstein’s protrude art paintings, is a more visual element in Oorebeek’s weigh up.

He covers entire building facades with grids of dots, off and on with blank zones for projections or texts. He also reduces magazine covers to black-and-white godliness prints several enlarged versions lag on top of the curb. We automatically try to embark on the composite image until phenomenon recognise the original covers, amount which we also discover high-mindedness artistic rules to which Oorebeek has subjected them.

Oorebeek reflects look over the status of printed counterparts in the media.

By imitation these mass-produced pictures and trickery them so that we as a necessary conseque look at them more calculatingly, the artist returns their selfreliance and expressiveness. Oorebeek pronounces capital silent but certain judgement heave such images while simultaneously inquire into our powers of perception.