Enno de kroon biography of michael
Artist biography Enno de Kroon
Biography - Enno de Kroon (The Hague, ) lives and works in Rotterdam, The Netherlands. As a son of an art teacher and sculptor, Enno de Kroon was brought up with visual arts, music, theatre and films. He studied painting and sculpture at the Willem de Kooning Art Academy, Rotterdam ().
During his study he was involved as an assistant to artists like Sol Lewitt at the Gemeentemuseum (The Hague). After his exams Enno founded the artist run gallery Dionysus, together with some fellow young artists. At that time, in the mid 80’s, young artists started to take control over all aspects of their artistic presentation.
Enno de kroon biography of michael No rights can be derived from this documents content. Only after one year of contemplation he accepted his newborn artist identity and dared to show, among others, this large brutal painting at Colorado, a satellite exhibition of Manifesta 1 in Rotterdam. He studied painting, drawing, design and sculpting at Rotterdam University from to The work is only valuable once it is in the spirit of the one who beholds it.Enno was involved in the organization of striking new art projects, exhibitions and editions for about 15 years, reflecting the open minded international spirit of his generation. He organized in a first group exhibition of upcoming non-conformist Russian artists like Timur Novikov and Sergej Bugaev in their huge squatted gallery space.
And in Enno was project leader to the successful Dionysus project Hotel Fantasia. This “view box project” consisted of a hotel-like building containing 60x40x80 cm spaces explored by 44 artists from 11 different countries, showing different views on the theme ‘scale and perception of scale’. Within his own artistic productions Enno de Kroon was also looking for opportunities to cooperate.
Under the name Meidam de Kroon he created from on common-made paintings with his artist friend Alex Meidam. The ‘duo-artist’ was successfully presented by respected Dutch art galleries as Delta and Delaive, and exhibited at young age in international Art fairs and established museums in Europe. Eventually the common artistic interests of the duo ran out; two strong characters that came together so well in a huge series of surprising artworks, had grown apart.
Enno decided to concentrate on the production of individual works to lift his art to a higher level. In he closed himself up in his studio, to just paint and experiment. Tombant l escalier, nu, one of his key works, can be seen as a self portrait and an emotional counterpart to Duchamps iconic painting Nu, descendant l’escalier, showing human motion fragmented on a painted field.
In his painting Enno demonstrates the painfulness of his rebirth as a solo artist. Only after one year of contemplation he accepted his newborn artist identity and dared to show, among others, this large brutal painting at Colorado, a satellite exhibition of Manifesta 1 in Rotterdam. The Dutch government. granted him with a stipendium in This two year grant enabled him to experiment.
Far away from the distractions of public exposure and the forthcoming pressure of commercial success, he undertook working trips through Europe, Israel and the USA. In he moved to Sarajevo to paint the remains of the isolated city, just after the war. A quote from his monograph Adventures sheds light on this period: “I realize that my paintings will not change the world like paintings have done in the past.
I don't believe that images still have that kind of power. But the possibilities in creating new pictures by painting keep surprising me. I do believe in creating a new context for the image: an area that one could refer to as a private thinking space between the image and the observer. In that thinking space one is able to think and formulate again on matters of truth and purity.
A free projection space is revealed there. This space requests personal interaction. The image and the observer here relate to each other inseparable, as the sides of a two-sided mirror. The interaction here is like an intimate move. Paintings are very likely to guide the observer into such interaction, for the action of painting is physical and direct”.
The philosophical space that De Kroon refers to here doesn’t implicate just a two way interaction. The subjects of his later paintings also reveal the ‘human condition’ of the real world outside this ‘private area’ between the image and the observer. Human figure representations can extend to complicated group portraits like Demoiselles de Rotterdam () where the viewer is brutally confronted with a fictitious group of addicted and vulnerable street hookers.
This large and provocative painting was presented as a gift by the Bouman Foundation to the Rotterdam Municipality on the occasion of the closure of the local street prostitution area. It was a clear reminder of the existence of these women, and was given a place on the walls of the Rotterdam Town Hall in Already in the mid 80’s Enno de Kroon aimed to break away from viewing conventions by painting and drawing on uncommon surfaces like a hot air balloon.
Ever since he has played with distortions of perspective putting the viewer on the wrong foot and making him conscious of his own way of observing. Egg cartons were around his studio for some years till he found the courage to take the plunge and started to work on them; the results are stunning Starting to paint fictitious portraits on the bumpy surfaces of egg trays in , Enno de Kroon encountered the interference of changing incidences of light with the rich colours of paint.
Painting with hindrances requires a new approach by the painter which, as a consequence, also led the viewer to take a new approach to looking at the art. The viewer quickly discovers the presence of an obstacle when looking at the piece of work, which makes it necessary to observe it from different sides, and then to decide for himself which position he prefers best.
Every position suffers the consequence that other parts of the work can’t be seen. The extra effort to be made offers something new to the art: The process of viewing these art works becomes a purposeful, interactive and exciting experience where both expectations and memories play a role. Enno soon called this new experience of painting and viewing art: Eggcubism.
Early 20th century cubist painters often depicted their subjects from a multitude of viewpoints to interpret and represent them for the viewer in a wider context. However, with Enno's paintings in contrast it remains that it isn’t the single or multiple interpretation of the artist which matter. The viewer plays, by simply accepting his work, an active role.
The work is only valuable once it is in the spirit of the one who beholds it. By referring to cubist characteristics, and leading them into the interactive 21st century, Enno co-operates with the viewer. His Eggcubism works integrate the viewer in the process of image making. All the while, the empty egg trays and their reuse make us re-think the existential and philosophical double problem of the chicken and the egg in a critical contemporary context; our thoughts on the origin and nature of life in an overpopulated and overproducing society are continuously questioned Several Eggcubism exhibitions made clear that Enno’s works are easily acceptable and appeal to every individual observer, constantly taking in account subjective limitations and specific individual positions.
Interestingly, it was through the open nature of the internet that the clear photos of these quirky works got noticed all over the world.
Enno de kroon biography of michael douglas: Formore, the catalogue and the video document that the Fondazione Geiger are producing, will prove to be durable documents on Enno's art. Need an account? This space requests personal interaction. Modals Julie K.
In Enno launched his photos on the Flickr site and immediately they generated large numbers of viewers. The watching experience of the individual spectator before the flatscreen however is hampered by the lack of real live depth and occlusion. The intriguing photos of the Eggcubism works seem to point out these limitations.
Certainly part of the success was due to the upcoming worldwide vogue of Recycled Art, a widespread theme all over the internet. Enno’s work is regarded as a leading inspiration in a variety of articles on this subject. Questioned on this he comments with Dutch sobriety: “I didn’t discover Recycled Art, which –in my opinion- has come and gone for all ages.
It is more likely that the new vogue of Recycled Art has discovered my work on reused egg trays, and there my art seemed to fit the spirit of the time, leaving the responsible observer the present-day freedom to choose on individual and critical positions towards the art. My work here finds it’s natural way to reach a large audience”. Soon after this first online publication articles on Eggcubism were published in newspapers like The Telegraph and in trendsetting art magazines from all over the globe.
Then his work was also noticed by different art collectors and sales took off. In Enno sold a collection of 38 unique Eggcubism works to the German Peter Klaus Foundation. In an overview of his work on egg trays was exhibited at Rotterdam's Central Library, where over visitors got the chance to see his work ‘live’. The audience there took remarkable long time to observe and discuss the artworks.
Increasingly getting noticed by the art scene, Enno’s unique works however remain scarce. His handmade artworks on recycled egg trays take him a lot of time and concentration to produce. In this way Enno de Kroon is a traditional artist. His work can be regarded in the ancient Dutch painterly tradition of painters like Breughel, painting recognizable subjects derived from common social scenes.
His recent work on egg trays extends to larger, multi-layered wall reliefs, showing group portraits that reflect the playfulness of Pop art imagery, but also have to be regarded in the Dutch tradition of Jan Schoonhoven’s light interfering white cardboard wall reliefs.
Enno de kroon biography of michael jackson Far away from the distractions of public exposure and the pressure of commercial success, he undertook working trips through Europe, Israel and the USA. We like it! Piet Bakker. Eggcubism portrait teaching methods are developed all over the world, serving different grades of students from different cultures and social backgrounds.Enno’s new wall reliefs involve the viewer in a shifting reference frame. The dynamics of the group are foregrounded in the representation by several groups and individuals. They are unified by the space instead of by an action. Just as in reality, the viewer is confronted with a quantity of social groups and individual intentions.
The large Eggcubism paintings make the viewer a voyeur. He is immersed in the paintings surface and surrounded by groups of people but unable to interact on a social level, nor to grasp their exact intentions since they seem to change by each viewpoint due to the multi-perspective perceptual presentation. The dynamic viewer is challenged continuously to define his relation to real and depicted objects.
The egg tray structure here fulfils a transitional function, like a metaphor. From a poor material quality container, just sufficiently accurate for the safe transport of eggs, Enno’s reused egg trays have become a sustainable transmitter of durable pictorial ideas. Nowadays Enno de Kroon's appealing art is often applied in educational contexts.
The immersing viewer experience his works offer has evoked an educational offspring. Eggcubism portrait teaching methods are developed all over the world, serving different grades of students from different cultures and social backgrounds. Egg trays are available all over the world as a recognizable part of the every day common household waste.
Eggcubism courses have the aim to both explain and explore different visions on art education and artistic creativity.
Enno de kroon biography of michael jordan His Eggcubism works integrate the viewer in the process of image making. The viewer plays, by simply accepting his work, an active role. Cromohs Cyber Review of Modern Historiography , Egg trays are available all over the world as a recognizable part of the every day common household waste.But they have also proven to be a purposeful mean to playfully get access to more difficult subjects like the creation of, and reflection on identity and identification. The educational offspring has added a new aspect to Enno’s artistry. He likes to be involved in the new extending social context of his art by giving advice and consults to teachers and students, and giving workshops on his Eggcubism, thus taking part in the more general global debate on art & recycling.
Selected web links : (Ctrl+click to follow links) Photos of Enno de Kroon s work Eggcubism selected slideshow Scrollable version of the slideshow Eggcubism Facebook page Recycling, by Simone Preuss (USA): Eggcubism: The Art of Recycling Old Egg Cartons Scene Magazine, by Adriana de Barros (USA): Painting on egg trays Triangulation Blog (USA): Enno de Kroon - Eggcubism K magazine (Sejong Art Space, Korea).
Focus on RECYCLED ART by Kang Mi Seung, Enno p Environmental Graffiti, by Alka Sharma (USA): Two-and-a-half dimensional paintings on egg cartons Huffington Post, by Gazelle Emami: Junk Art: 10 Amazing Artists Using Recycled Materials The Telegraph (UK): It s all in how you look at it: the eggbox art of Enno de Kroon. Wall Magazine (France): Eggcubism - des illustrations sur des boites d oeufs par Enno de Kroon Trendalert by Natasha Calado (Brazil): Eggcubism Zupi (Brazil): Cubismo em caixa de ovo Shanghai Morning Post (China) : 2,5 dimensional artworks by Dutch artist Enno de Kroon Caijjing Finance Magazine (China): Trash to treasure Home Review Magazine (India) by Christabelle Athaide: Trays of genius New Weekly Magazine (China) by Zon Linlin How to proove Art is not waste?.
NDI Recycled Art Gallery, Bournemouth, UK: Enno de Kroon s art at NDI Gallery Some examples of Eggcubism educational offspring: Enno de Kroon EGGCUBISM - By Bryce Joslin (PDF): Advanced painting and drawing EGGCUBISM - By Mallory Ketterer (PDF) Eggcubism self portraits - , the largest Kids Art Museum online. USA. Artist of the month - Mira Vista School, Richmond, CA, USA.
Re-create Art Project - Mocha Museum of Children’s Art, Oakland, USA. A la manera d Enno de Kroon 1 - Escola Calderón, Barcelona, Spain. (with photos) A la manera dÉnno de Kroon 2 (with photos) A la manière d'Enno de Kroon - L'école Pergaud, Pontarlier, France.
Biography of michael jackson His Eggcubism works integrate the viewer in the process of image making. Just as in reality, the viewer is confronted with a quantity of social groups and individual intentions. The work is only valuable once it is in the spirit of the one who beholds it. Kroon does an excellent job working with distorting an image and I applaud him for that.Eggcubism is published in different school books in Brazil (Editors: Piaget & Poliedro system). More information, sales, exhibition requests, and publishing permissions: info © Enno de Kroon, June, No rights can be derived from this documents content.