Quotes from the publication “ The Pact “ by Pietje Tegenbosch.
~ … the use of elements from reality-figuration- in her abstract sculptures. This initial hesitation in Dorothé Jehoel’s most recent work has developed into an ardent embrace. Both in her free work as in the sculptures she makes in assignment, her objects show inspirational sources like machines, parts of appliances, industrial material and products. Sometimes even explicit references to the human figure are found,…..
~ Jehoel is not interested in a subjective expressiveness and is averse to symbolism or literary references. Like her masters she denounces every form of mimesis. She is also takes the same view that art should solely refer to itself.
~ Jehoel is interested in classical sculptural principles.
~ …. The contrast becomes a fertile style
~ expression, colour and decoration are no longer taboo. Playful form- and style quotations breach the parochialism of modernism.
~ she inflates as it were her small sculptures to big sizes and at the same time tries to preserve within these proportions the playful character of her small compositions.
~ the pact with the ancestors gets a new dimension when Jehoel, in the course of the nineties, increasingly explicitly chooses for a concrete starting-point for her sculptures. This means that the most unsightly and everyday elements and forms in her environment may cause an eruption of sculptural associations.
~ Jehoel ,as well, is touched by the feeling that the whole world is in principle at the disposal of the artist. It reveals itself in a associative use of forms that are not to be explained immediately. Bright, vivid colours cut a profile into volume and form. But the sculptures can also be monochrome in colour….
~ the geometry is as it were seduced by the richness of ornamental forms from nature. Jehoel summons the ancestors in a new pact.
~ this pact of opposing spheres is the pact that is also the thread in Jehoel’s work itself.
~ … the use of elements from reality-figuration- in her abstract sculptures. This initial hesitation in Dorothé Jehoel’s most recent work has developed into an ardent embrace. Both in her free work as in the sculptures she makes in assignment, her objects show inspirational sources like machines, parts of appliances, industrial material and products. Sometimes even explicit references to the human figure are found,…..
~ Jehoel is not interested in a subjective expressiveness and is averse to symbolism or literary references. Like her masters she denounces every form of mimesis. She is also takes the same view that art should solely refer to itself.
~ Jehoel is interested in classical sculptural principles.
~ …. The contrast becomes a fertile style
~ expression, colour and decoration are no longer taboo. Playful form- and style quotations breach the parochialism of modernism.
~ she inflates as it were her small sculptures to big sizes and at the same time tries to preserve within these proportions the playful character of her small compositions.
~ the pact with the ancestors gets a new dimension when Jehoel, in the course of the nineties, increasingly explicitly chooses for a concrete starting-point for her sculptures. This means that the most unsightly and everyday elements and forms in her environment may cause an eruption of sculptural associations.
~ Jehoel ,as well, is touched by the feeling that the whole world is in principle at the disposal of the artist. It reveals itself in a associative use of forms that are not to be explained immediately. Bright, vivid colours cut a profile into volume and form. But the sculptures can also be monochrome in colour….
~ the geometry is as it were seduced by the richness of ornamental forms from nature. Jehoel summons the ancestors in a new pact.
~ this pact of opposing spheres is the pact that is also the thread in Jehoel’s work itself.
