Murals Inc. (office) · Piekstraat 31, Rotterdam · OPEN DURING OFFICE HOURS

‘Piek Survey’


31 Mar-31 Dec 2020
‘Piek Survey’

The first exhibition in the new space of Murals Inc.

A new space requires discovery, probing, mapping possibilities and commissioning walls. The artists asked work abstractly and from an architectural perspective. They were asked to define their design from spatial characteristics.

Participants: Jan van der Ploeg, Aimée Terburg, Bart Lodewijks, Barbara Helmer, Lydia Wierenga

‘Wall Work No. 491’ and ‘Wall Work No. 492’, overview, Jan van der Ploeg (2020)
‘Wall Work No. 491’, Jan van der Ploeg (2020), acrylic on wall, 390 x 1045 cm
‘Wall Work No. 491’, Jan van der Ploeg (2020), acrylic on wall, 390 x 1045 cm
‘Wall Work No. 492’, Jan van der Ploeg (2020), acrylic on wall, 390 x 1390 cm
‘Wall Work No. 491’ and ‘Wall Work No. 492’, overview, Jan van der Ploeg (2020)

Jan van der Ploeg

Jan van der Ploeg works with an organized and recognizable graphic imagery that he has carefully constructed throughout his career. In the front space of Murals Inc. van der Ploeg has created imposing murals on both sides that reveal the possibilities of space and walls at once.

Aimée Terburg (2020), site-responsive mural, acrylic and varnish, 160 x 195 cm + 160 x 264 cm + 160 x 264 cm. Photo: Luuk Smits
Aimée Terburg (2020), site-responsive mural. Photo: Luuk Smits
Aimée Terburg (2020), site-responsive mural, acrylic and varnish, 160 x 195 cm + 160 x 264 cm + 160 x 264 cm. Foto: Luuk Smits

Aimée Terburg

With her site-responsive triptych, Aimée Terburg seemingly breaks through and connects the long wall in the middle of the building. Simplicity and contrast are at the heart of her approach, which evokes shifts in perception in a special way. She plays on the light sources and properties of the place as the center of the wall and passage from the front of the building to the back.

The paint is applied in a certain way; thus, there is a reflection difference in the painting, in the grayscale and in the direction of the pattern. This changes the depth and plasticity as you walk by. From such sources of inspiration as road signs, prehistoric bone carvings and “Hard-edge Painting”, she thus creates her own equivalent of walking in a landscape.

LINK CHAIN (Light), Barbara Helmer (2020), 300 x 350 cm
LINK CHAIN (Light), Barbara Helmer (2020)

Barbara Helmer

"What landscape does a painter see?” challenges painter Barbara Helmer. ‘Viewers conveniently assume it is the world they themselves see, but translated into paint.’ She smiles, ‘The world is the canvas. The paint, shapes, color, that's the landscape... Of course I do allow elements from reality. On my terms, if it fits.’

She doesn't mimic anything. Occasionally, representations in the outside world resonate with her painterly reality. The painter registers them. Absorbs them gratefully. Dissects, analyzes, abstracts, until they are only contour or color. The graphic structure of the mural once began as a thick golden chain of links. In that composition of planes, the painter shows us what she sees. How a prism escapes from gray. That stripes can be rays of light. That an eclipse of a color plane exists. She takes us past aesthetic collisions, near misses and successful encounters. She shows how from form a counterform arises. The mural is the landscape that fits here. There may be others in other places. In gray, perhaps. Or striped. Whatever the painter has in mind.”

— Klaar van der Lippe

'Pile line', Bart Lodewijks, starts with ‘Noordereiland Drawings’
'Pile line', opposite entrance Murals Inc.
'pile line' opposite entrance Murals Inc.

Bart Lodewijks

The ‘Piek Survey’ exhibition also kicked off the ‘Noordereiland Drawings’ project by Bart Lodewijks. Bart used chalk lines within the exhibition to follow the structure of the space and then went outside to continue drawing in the street opposite the entrance. From there, the line imaginatively continues to the Noordereiland 1.7 km away, to start the drawing project that will take place over the next 8 months. This first exhibition literally shows the scope of our policy. An art stage that manifests itself both inside and outside.


‘A4 No. 51’, Lydia Wierenga (2020)

Lydia Wierenga

On June 6, 2018, Lydia Wierenga painted her first black A4 in her own studio. In 2019, she continued painting these somewhat enigmatic little works that are always applied at a 90-degree angle in various living rooms throughout the Netherlands. For this occasion Lydia was invited to make one at Murals Inc. as well this became No. 51. A publication has appeared with all the A4 sheets that have been applied throughout the Netherlands, the publication will have its premiere at Murals Inc.

Opening ‘Piek Survey’
Murals Inc.