Colour, Shape and Structure
Painting is discovering
searching for colour, shape and structure
different each time
Her work has a style of its own that strikes the viewer with its lucidity and sparkling colours. Floor de Bruyn Kops plays with form, composition, colour and layered structure, balancing between the figurative and the abstract.
Floor de Bruyn Kops’ work receives national and international acclaim. Her work is part of the collections of many companies and institutions.
After completing her masters degree in Dutch language at the University of Amsterdam, Floor de Bruyn Kops has completed the Academy of Art Ruudt Wackers in Amsterdam (1985-1989). Prior to this she took lessons with Stien Eelsingh, Johan Haanstra and Jan Sierhuis.
Everything is connected with each other and at the same time everything is different. Painting is playing with shape, colour, structure, line and flat plane. Shape language is boundless. A small change results in a different picture immediately. In the art of expression you want to tell a story but it is also an artistic research. It is a journey of discovery and a search for something that perhaps never can be caught completely. As if it is a ribbon that unrolls further and further, each time in a different way. Each painting is an adventure. Painting is passion, happiness and letting go.
The recent music paintings show organic and vegetal shapes, inspired by the shapes of the basses and violins. Also, often the shapes of musicians and instruments have largely been painted away. Colour and shape determine the character.
In the Japanese work it turns around the language signs. Hiragana, Katagana and Kanji are tied to severe rules. In Japan, the signs become art when they are characterised by a personal handwriting, possibly illuminated with other pictures or ornaments. Floor also made the signs a work of art.
In a still life it concerns the space between the objects, the merger of the objects with each other or the space around them.
Nudes also, standing, lying, leaning or stilled, connect with their surroundings.
In a landscape, it is the grand gesture and its location is of no interest anymore.
In the series Justitia a peek is given in the court room. It is all about postures, small gestures and the atmosphere.
Amongst the paintings selected under “various” is the painting Honderd liefdessonnetten (hundred love sonnets), a depiction of the poems of Pablo Neruda and the wonder world of South America. In the painting De dwaze bijen (the silly bees), after a poem of Martinus Nijhoff, the bees go to the sky as a kind of kites in a landscape. The paintings with dots, birds and flowers are about cancer cells.
Introduction from a text of Hugo Brutin, a Belgian art critic:
‘Floor de Bruyn Kops’ paintings are miraculous stories about the formal aspects of people and objects. Variations of a selected reality, in which the warm light blossoms and the colours turn into living entities. Her painting is sensual and poetic. She paints in an effusive, daring and confident manner.
Her paint brush shows the amazing skill of an excellent artist. The eye of the viewer experiences clearly what is only subtly indicated and suggestion fills in the remaining parts. Characteristic for her work is the judicious and very pictorial approach of her subject matters and her talent for measure. She is a painter in the rich, lyrical sense of the word: separated from figuration and yet closely connected to it. Her composition seems light-hearted, but has been constructed very harmoniously. For her, the unreality of a landscape is to some extent just a pretext for creating ‘peinture peinture’ which comes close to a visual rendering of a musical performance. It is obvious that her nudes, her objects and her scenes, closely connected with a summery atmosphere, are the evocation and also the mirror of her own sensitivity. The exuberant image of a familiar reality and a certain mode of language have liberated the artist from a too detailed rendering so that suggestion and reality have become one emotion.’