Paul Koning | Santpoort (Velsen), Netherlands
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KINGS 19:12b-13, 1985
charcoal, pencil on paper, 70x100cmThere is a total 8 parts to this series, three belong to the Bueler-Bernard collection. They are based on the Books of Kings (the Old Testament). The books are part of a collection of historical scriptures that were written c. 550 BC during the exile of the Jews in Babylonia. The title of the series of artworks refers to certain passages of these scriptures.
12. And after the earthquake a fire; but the Lord was not in the fire: and after the fire a still small voice.
13 And it was so, when Elijah heard it, that he wrapped his face in his mantle, and went out, and stood in the entering in of the cave. And, behold, there came a voice unto him, and said, What doest thou here, Elijah?
(Bible King James Version)
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The Creative Process, 1986
ink on paper, 69x99cmAnd God said, let there be light: and there was light.
The artist made two large scale series of mono-prints that visualise the etching process. In these works, the etching process should be seen as a metaphor for the creation of the world, as described in Genesis (the Old Testament). They have been inspired by the 10 commandments that God gave Moses on Mount Horeb, hence, the integrated diagonal inclination, echoing the mountain’s slopes.
Hidden in the confines of the printing studio, almost alchemistic practices take place. Every image derives from a single thought followed by an immediate action; there is no margin for error while the artist scratches the metal surface of an etching plate (in this case the plates must have been a metre wide!). The artist’s creative spirit materialises; a metaphor for the unseen acts of God. The application of aquatinting results in some extreme chiaroscuro, heightening the sense of drama.
Both series belong to the museum collection. Each print has been assigned a phrase from Genesis. The following two prints derive from the first series.
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The Creative Process, 1986
ink on paper, 69x99cmAnd God saw everything that he had made and behold (it was) very good. And the evening and the morning were the sixth day.
The artist made two large scale series of mono-prints that visualise the etching process. In these works, the etching process should be seen as a metaphor for the creation of the world, as described in Genesis (the Old Testament). They have been inspired by the 10 commandments that God gave Moses on Mount Horeb, hence, the integrated diagonal inclination, echoing the mountain’s slopes.
Hidden in the confines of the printing studio, almost alchemistic practices take place. Every image derives from a single thought followed by an immediate action; there is no margin for error while the artist scratches the metal surface of an etching plate (in this case the plates must have been a metre wide!). The artist’s creative spirit materialises; a metaphor for the unseen acts of God. The application of aquatinting results in some extreme chiaroscuro, heightening the sense of drama.
Both series belong to the museum collection. Each print has been assigned a phrase from Genesis. The following two prints derive from the first series.
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The Muses, 2002
oil on canvas, 210x921cmColour, light and joy bursts from this epic work like a big bang of creation. It is Paul Koning’s interpretation of the Muses. The origins of the Muses date back to ancient Greece, known as the sister goddesses of the liberal arts and sciences and the patron goddesses of poets (who in ancient times were also musicians). It is thought that the word museum stems from this cult.
Each of the nine figures possesses a musical quality reminiscent of musical keys. Lines are painted across the canvases like delightful ribbons of colour that thicken and become thinner; they vibrate like a rhythmic dance or an energetic field of force with a glow of light that surrounds some of the lines. A golden eye that crosses the entire work is a binding element that connects each panel. Could it be the watchful eye of Mnemosyne, the mother of the Muses? A rich rainbow spans the surface of each piece. If the first and last panel were laid together the colours would appear as a continuum, like an endless source of inspiration.
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untitled, 1983
oil on canvas, 190x250cmThis large scale painting can be regarded as a highlight of Koning’s oeuvre. Leading up to it, the artist created three preparatory oil sketches, one of which is also part of the Bueler-Bernard collection.
The shapes painted on the canvas, may be shadows or remnants of figures. But the forms are losing their familiarity, as they have started to dematerialise. Plato’s Theory of Forms may be applicable. The theory proposes that our perceived reality is only a shadow or imitation of the world of forms (or ideas). Even if an object changes its appearance, the initial design is still there in principal. Considering Koning’s interest in metaphysical themes, we could say that a dynamic bond is generated that oscillates between the idea and creation (object) and the grey-white background could be interpreted as a creative screen out of which a virtual reality emanates.