Aarts is looking for strong and fascinating images. Explicit and
suggestive images which are the synthesis of a careful process of
extruding ideas from everyday
life. Although the enigmatic
contents of his work should reveal enigmatic impulses to the viewer
univocity has to be avoided.
The range of associations depends on the perception of the viewer, so:
every work has to be a sort of divergent and cumulative well.The
differences between his works reinforce each other and the caused
“images between” are substantial to the imagination of the viewer;
it’s like finding a needle in a haystack.
His paintings become more and more psychological mirrors because the ever
appearing riddles cause “insecurity” to the viewer;
now he is vulnerable.
The most substantial attitude of man.
No formal scientific method is capable of making a difference between a
good or a bad perception :so the viewer can’t make any mistakes.
The way space is reflected in two dimensions urges the viewer
to look with two eyes instead of one. The viewer becomes an
As an observer, who isn’t standing along the line, he turns out to be the centre of his own story. It isn’t
Our imagination is limited because the laws of nature have stipulated our
way of thinking through evolution.
in two dimensions literally spoken is contradictory.
The identity of paint as such lays in its capability of adopting endless appearances
Painting as an art is most difficult to broaden so in this context as well
development and quality always are related to time.
Ruud Aarts wants the viewer to realise how we look at the everyday
abundance of images: and especially the commonplace of its multiplication.
Paint is no press-ink or pixel.
Credibility and truth are synonymous but both are univocal and oppress
the alternative. It’s like a yes or no question.
certain his work contents antagonisms and is contradictory. He wants his
art to be indispensable. Indispensable art is ridiculous and
therefore pure irony.
The irony of painting