Welcome – Introduction

A typical Goedemoed

It is more than thirty years since Goedemoed (De Bilt, the Netherlands, 1956) began making art, not always full-time, but always with enthusiasm and ambition. If it were possible to view his works of those years hanging alongside each other, strolling leisurely past them – first close up, then from a slight distance, you would see the development in the themes, techniques, materials, colors, and size. But every one of these works could be called a typical Goedemoed; carefully thought through, balanced and compelling. These are images with a lasting echo.

The beginning

Jaap became acquainted with graphic techniques such as etching and silk-screen printing at higschool.

He was a keen and valued student during drawing lessons but only began painting on canvas seriously after finishing his studies. These were figurative paintings, first in oils and then in acrylics. Characteristic of these first steps are canvases with a flat scenery, painted in 1984 (1), and with a deep perspective, painted in 1985 (2).

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The flat division of the plane is inspired by and referring to Mondrian, the impossible construction of walls to M.C. Escher, the hieroglyphics to ancient Egypt. In his free time (he was now working as a qualified pharmacist), the young Goedemoed focused on figurative works, often with a symbolic significance. At this time he also experimented with different materials, including linen tape and modeling paste.

Turning point

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As a result of a process that started in earlier years, 1990 was perhaps a turning point in Jaap's artistic development. His work demonstrates less symbolism and the figurative themes are replaced by abstract images and strong attention to detail. These elements still define and characterize "a typical Goedemoed". Regarding the wooden plank (60x200cm)(3) from 1990, partially covered with linen tape, once again the influence of Escher appears: lower and upper side reveal identical structures, a development of changing patterns which return to their original shape, forming a metamorphosis. In this work ethnographic influences can be observed for the first time, e.g. emphasizing of the patina of the wood. Jaap finds much inspiration in ethnic art, which he has collected fervently since settling in Amsterdam.

The colors and geometric patterns of the dance shawls and garments of the central Kuba Kingdom in Africa are an important source of inspiration as in Changing pattern with opening I (1990) (4), which is based on a fragment of a Ngongo woman's dance shawl. That year, the artist used this image for the cover of his thesis. In these and later paintings, Goedemoed has been guided by shapes inspired by the human spirit, like the African patterns, and those generated by computer. For this theme, Jaap is indebted to Douglas R. Hofstadter, author of Gödel, Escher, Bach. Having a precise mind, Goedemoed is fascinated by this book and Metamagical Themas by the same author. This brought him to computer-generated patterns and subtle deformations and transformations. The mathematical orders and theirvariations are features of his later works.

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During the early nineties, there was also an undeniable influence of Amsterdam artist, Frank Lodeizen. Jaap met the flamboyant Lodeizen while visiting one of his exhibitions and Lodeizen showed him a painting technique involving a mixture of acrylic paint and arabic gum. After drying, when the gum has crystallized, the mixture is rinsed with water which washes away some of the gum taking with it both undissolved and dissolved paint. Lodeizen calls his technique the "batik method". Jaap noticed that the final results are unpredictable and sometimes lead to quirky traces of the acrylic paint counterbalancing both the predictability of regular patterns and an excess of detail and precision.

The artists made a joint visit to the Tuscan village of Montescudaio for three weeks during the summer of 1994. Goedemoed found old agricultural tax papers complete with seals and stamps in a garbage heap in a backyard. They can be seen, sometimes combined with the batik method, in certain works of that year, for example Tuscan tiling I (Montescudaio) (5, 15). The new technique and use of structural elements do not appear to be a problem for Jaap. In other works, he explores patterns with open (6) and closed (7) structures to which he adds used paper items: fragments of newspapers, old banknotes, Coptic healing scrolls (parchment) (8, 12), Japanese prints (9, 10), cigar boxes (11), handwritten Islamic texts, prints by other artists (11), yellowed and stained materials harmonizing well with the 'washing' gum technique.

Large format

During the nineties, we see a move towards his first large works, often with spatial divisions. From a distance they are compositions with a strong central focal point, movement or a harmonious whole. Close-up, we see the mathematical precision with which the small spaces are painted and combined with other materials. This development culminated in "Composition with open structure" (150 x 150 cm) (13, 16) in which the artist combines many experiences. The composition is calming without being dull. The separate elements, painted in acrylics and arabic gum, invite the viewer to come closer. And close up, this second layer is fascinating! Jaap enjoys working in these large formats. The planning and the patience necessary to work with these sizes suit him. In this period, we also see a diversity emerge from his work: many things can always be seen in Jaap's work. It may be movement or a color pattern, or possibly unexpected vistas into a second or third layer. A Byzantine saint (9, 10, 14) , a Japanese garden (10), a newspaper photograph (14) of a leader from the Balkan Wars. They don't intrude upon an attentive viewer but form an indispensable part of the overall image. These were inspiring years for the artist and his work demands to be seen. With a substantial degree of confidence, daring and ambition, during a visit to New York Goedemoed succeeded in attracting the interest of the Montague Gallery in Soho where he showed his large multi-colored mosaics at group exhibition in the fall of 1997.

Text: Rineke van Houten
Translation: Jean E. Boucher