Ron Weijers - multi-disciplinairy expressions of art for creative concept & project development

Chung-Hsi Han - Netherlands

In the last eight years I’ve rediscovered the beauty of drawing. The simplicity of paper, charcoal and an eraser is still very challenging to me. With these tools I can explore my imagination, the world within as well as outside myself. Drawing is an even more direct medium than painting. I can handle the charcoal gently, raw or in thick layers. I can erase, suggesting light and even sand it with sandpaper. My passion are the ‘Metamorphoses’, large drawings sized 65 x 380 cm, suggesting silent, spacious landscapes. The enormous impact a harsh landscape like the Himalayan Mountains can have I experienced personally while walking for days along goat tracks from one building site to the next, working as a suspension bridge engineer (1987-1991). Mentally and physically the experience was so powerful that I decided to change my profession. As Hendrik van Leeuwen (2005) stated: ‘Only in art he thought to be able to find a true answer to the creative and destructive force of nature’. The start was made at The Royal Academy of Art, The Hague (1993-1997). In 2003 I got a ‘basisstipendium’, a grant by FVBK based on the quality of my work. It was only in 2006 that I started drawing again. The idea of ‘Metamorphoses’ originates from Moleskin Leporellos. The Moleskins travelled with me from 2003 to 2012 through wide landscapes in India, Nepal, Indonesia, California, UK and Europe, but most of the time on day to day travels by train between my home and my work. The traces in those Moleskins are not merely representations of the landscapes I’ve observed. They are traces of earlier travels combined with what I see and what I feel. But above all, they represent my deep respect for nature. In those Moleskins, I tried to establish complete drawing sizes 24 x 200 cm. Working in black and white is like coming home: I remember that even as a child I used to prefer working in black and white. Black-and-white leaves a lot to the imagination of the spectator. I still consider black as an ‘oriental colour’, that is, one rich in expression, one that overshadows other colours. Black is the colour of unsolvable mysteries, a cave in which day becomes night and where you can be lost forever; a black hole so vast you can’t grasp its enormity. With this black, light can become both more pronounced and yet stay subtle.