“What I particularly appreciate in Eric de Nie’s paintings is the deliberate gesture of paintwork. His approach is exemplar of the operational potentialities of liquid on canvas. Substances are poured into joyous grids refraining from direct associations with representational restraint. They rather advocate a felt conception of visual experience. Material consciousness takes command, allowing for the urgent reality of the streaming. The work is done to reassert transience and process as prior to form and product. The intuitive, dynamic performance serves as a lodgement where inventiveness and pigments fuse. De Nie does not aim to represent a fixed ‘something’. His is an involvement in process, that is, in an ever shifting referent – events coming into rhythmic being. ( )”
By Jan van Heemst, Amsterdam NL( from preface of ‘Laufbilder|Run the Paint’, catalogue 2009)
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“( )Eric de Nie’s works appear to be the heralds of some newly to be defined typologies of architecture. They emerge from artistic experiments on the picture surface whose diversity becomes manifest as a serial rhythm of the spatial. These pictures seem resolved to give up their planar materiality with an urgency gradually waxing from the plane, in order to be able to gain access to the spatial. Suddenly between the lines, additional lines, unexpected slots, or open cracks may be assumed. Whatever comes to light here, it manifests a declared belief in the indefiniteness of space, if not of cosmic space. What became manifest as an insight at first, is getting noticeably enlarged into a vista.( )”
By Prof.Dipl.-Ing. Dirk Mantzke, Osnabrück D (from ‘Construction of Atmosphere’ essay in ‘Laufbilder|Run the Paint’, catalogue 2009)
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( ) For his paintings with vertical drip-lines, ( ) particularly, with the horizontal and square formats, De Nie achieves a new synthesis whereby in addition to time and space, also motion plays a determining factor. The spatial experience in these works is positively activated by a seemingly subtle interaction of some colors jumping to the foreground and others fading into the background as long as the moving eye - from left to right - is fixated on the painting. While trying to create the illusion of a rhythmically swaying surface, however, from a distance, the tight succession of paint lines gives the impression of an optical effect, because the intense gaze of the concentrating eye has difficulty keeping the gaze focused.( ), the lines appear to be dancing and quivering in accordance with the rhythm of the colors. In these paintings, associations with music unconsciously come into play.( )
"I have always loved music a lot and often painted while listening to the music of contemporary composers, jazz or exotic music in the background", he said. "However, quite suddenly, I started to understand it’s direct relationship. As a matter of fact, in my work every color has it's own sound and when all these colors blend into one they form rhythmic melodies. That's pure music". From that moment on, De Nie starts to seriously engage himself with the synthesis and emotional connection between the art of painting and music which results in public performances.
( )”
By Han Steenbruggen, director Museum Belvédére Heerenveen NL ( from ‘Sequenza 7’ of ‘Eric de Nie Sequenza’ monography 2009
By Jan van Heemst, Amsterdam NL( from preface of ‘Laufbilder|Run the Paint’, catalogue 2009)
-----------------------------------------------------------------------------------------------------
“( )Eric de Nie’s works appear to be the heralds of some newly to be defined typologies of architecture. They emerge from artistic experiments on the picture surface whose diversity becomes manifest as a serial rhythm of the spatial. These pictures seem resolved to give up their planar materiality with an urgency gradually waxing from the plane, in order to be able to gain access to the spatial. Suddenly between the lines, additional lines, unexpected slots, or open cracks may be assumed. Whatever comes to light here, it manifests a declared belief in the indefiniteness of space, if not of cosmic space. What became manifest as an insight at first, is getting noticeably enlarged into a vista.( )”
By Prof.Dipl.-Ing. Dirk Mantzke, Osnabrück D (from ‘Construction of Atmosphere’ essay in ‘Laufbilder|Run the Paint’, catalogue 2009)
--------------------------------------------------------------------------------------------------------
“(
( ) For his paintings with vertical drip-lines, ( ) particularly, with the horizontal and square formats, De Nie achieves a new synthesis whereby in addition to time and space, also motion plays a determining factor. The spatial experience in these works is positively activated by a seemingly subtle interaction of some colors jumping to the foreground and others fading into the background as long as the moving eye - from left to right - is fixated on the painting. While trying to create the illusion of a rhythmically swaying surface, however, from a distance, the tight succession of paint lines gives the impression of an optical effect, because the intense gaze of the concentrating eye has difficulty keeping the gaze focused.( ), the lines appear to be dancing and quivering in accordance with the rhythm of the colors. In these paintings, associations with music unconsciously come into play.( )
"I have always loved music a lot and often painted while listening to the music of contemporary composers, jazz or exotic music in the background", he said. "However, quite suddenly, I started to understand it’s direct relationship. As a matter of fact, in my work every color has it's own sound and when all these colors blend into one they form rhythmic melodies. That's pure music". From that moment on, De Nie starts to seriously engage himself with the synthesis and emotional connection between the art of painting and music which results in public performances.
( )”
By Han Steenbruggen, director Museum Belvédére Heerenveen NL ( from ‘Sequenza 7’ of ‘Eric de Nie Sequenza’ monography 2009
