10 Questions with Robert van de Graaf
Robert van de Graaf (1983, born in The Hague, the Netherlands) is a Dutch visual artist living and working in The Hague, the Netherlands.
Van de Graaf received a Master of Science (MSc) degree in Architecture (Technical University Delft) in 2009. In 2005 and 2006, he worked as an intern in architecture in New York City. At Steven Learner Studio, he worked on several art-related projects.
Since 2012 he has been devoting himself entirely to his career as a visual artist. He has since produced a large body of work, consisting of theme-based series of artworks which are exhibited in numerous online and physical exhibitions, like his solo exhibition at the ‘Salon des Arts’ in Maastricht, the Netherlands, in 2023. The exhibition was curated by Ad Himmelreich, former conservator of the Bonnefanten museum (Maastricht), and he wrote an important essay about the artworks of Robert. He has also been selected for the ‘Emerging Artist Programme 2023’ by Contemporary Art Collectors as one of the 20 internationally chosen artists.
Robert enjoyed intense private painting and drawing training at an early age (1996 - 2001) by the Dutch artist Erica Meyster (1949 - 2006). This period remains of great importance to his development as an artist.
Van de Graaf is interested in the connections and relations between the mystical in this world, in all its manifestations (the sea, the sky, nature, human-built environments, light and darkness), and the sense and the dimension of the spiritual world and our soul.
In his exploration, he is seeking the mystical hidden in this world, which he translates into metaphorical paintings. The works express a complex interplay of visual impressions combined with emotional and spiritual reflection. Each piece gives substance to his ongoing personal journey to seek meaning in life.
He draws his inspiration from religious and spiritual stories, mythology, mystical places, and the philosophy of life. His poetry, written during or before the creative process, also has a direct influence on his work.
Though primarily working on his oil paintings, he is also using drawings and watercolors during the creation process. The works are layered, densely merging his diverse range of mark-making, the expressive use of color, and studied compositions. The paintings are often large in scale and balance between the figurative and the abstract, giving a certain freedom to the viewer.
His art is held in private collections throughout the Netherlands, the United States, and France.
Robert van de Graaf - Portrait in his studio
ARTIST STATEMENT
Robert van de Graaf is interested in the connections and relations between the mystical in this world, in all its manifestations (the sea, the sky, nature, human-built environments, light and darkness), and the sense and the dimension of the spiritual world and our soul.
In his exploration, he is seeking the mystical hidden in this world, which he translates into metaphorical paintings. The works express a complex interplay of visual impressions combined with emotional and spiritual reflection. Each piece gives substance to his ongoing personal journey to seek meaning in life.
With his work Van de Graaf questions human destiny and how we as human beings can develop ourselves and grow on a spiritual level. He wishes his artworks to stimulate an opening towards personal deepening, both for himself and the viewer. The artworks aim to elicit a gaze back at the viewer, a reflection of feelings, crossing the line from observation to introspection.
Van de Graaf draws his inspiration from religious and spiritual stories, mythology, mystical places, and the philosophy of life. His poetry, written during or before the creative process, also has a direct influence on his work.
He transforms his inspiration into contemporary interpretations while richly referring to artists through all times of art history, such as Caspar David Friedrich, Anselm Kiefer, Joan Mitchell, and the old masters.
Though primarily working on his oil paintings, he is also using drawings and watercolors during the creation process. The oil paintings are layered, densely merging his diverse range of mark-making, the expressive use of color, and studied compositions. His mark-making, using brushes and palette knives, is moving from energetic gestural marks to very delicate ones, wishing his mark-making to create a language that speaks directly to the heart and soul, not only to the ratio and mind. Throughout the different stages of the work, he is adjusting in working speed, working from fast, directed intuitive outbursts to precisely observed slower additions.
The paintings are often large in scale and balance between the figurative and the abstract, giving a certain freedom to the viewer.
Van de Graaf received a Master of Science (MSc) degree in Architecture (Technical University Delft) in 2009. At an early age, he enjoyed an intense private painting and drawing training (1996 - 2001) by the Dutch artist Erica Meyster (1949 - 2006).
Van de Graaf experiences the process of creating freedom, inner battles, and faith.
Bygone Times Floating as a Storm Above the Sea, Oil on linen, 90x110 cm, 2022 © Robert van de Graaf
INTERVIEW
First of all, tell us a little more about your background, and how did you begin making art?
My origin is Dutch, with a mixture of English, German, and Indonesian influences. My grandmother was German, and Nana (my other grandmother) was English. One grandfather was half Indonesian (director of a factory), and my other grandfather was fully Dutch (Major in the Navy). In my direct and indirect family, there are a lot of engineers and economists. My father worked as an engineer, and my mother as a librarian.
Since I was a child, I have always been drawing and creating things. During my childhood, there was some support from my parents in exploring my artistic potential, but only as a hobby, not to pursue a professional career in the arts.
The only family member who was truly engaged and connected with the arts was my English grandmother, Mrs. Violet Bessie Stammers (1916 - 2002), who was an amateur painter herself and a lover of the arts (she was a big fan of Picasso, Chagall, and Monet), as well as a professional pianist. She gave me professional lessons in painting and drawing from a Dutch artist (Erica Mystery, 1949 - 2006) as a Christmas present. This led to intense private painting and drawing training from 1996 to 2001, during which I was able to work in full freedom under the supervision of Erica Meyster. This period still remains of great importance to my development as an artist. I eventually decided to study architecture and received an MSc degree in Architecture from the Technical University in Delft, the Netherlands, in 2009.
After working as an architect for nearly two years, I realized that I simply could not work as an architect for the rest of my life. Although I enjoyed the design process, developing concepts or ideas, and the creative aspects of architecture in general, I completely missed the freedom and limitless possibilities of creation in painting and drawing. At some point, I realized that I had been born as an artist, a painter and that this would be my path in life. In 2012, with the help of my lovely wife, I made the decision to switch to the arts and fully dedicate my life to the arts, whatever it takes.
Throughout my studies in architecture, I never abandoned making art, with more or less productive periods. During my architecture internships in New York City (Steven Learner Studio and Rietveld Architects) from 2006 to 2007, I moved to West Harlem (143rd Street between Broadway and Riverside Drive) in the second half of the year. There, I shared a spacious apartment, with two studios, with the artist Gabriel Serpa and I started to work on my oil paintings and drawings again. Although I truly enjoyed my internships, particularly at Steven Learner Studio, where I worked on art-related projects such as the Haunch of Venison Gallery (Rockefeller Center) and some private galleries, my doubts about my future as an architect only grew stronger.
Working in New York City was my first experience with the international art world, and it made a lasting impression on me. Living and working in this highly inspirational, high-profile artistic environment and being confronted with all the galleries and museums made me feel so inspired and enlarged my desire to change my course into the arts, and my initial dream to begin a career in the arts was reborn.
In 2007 I moved to Amsterdam to complete my studies in Architecture, where I also had a studio to make my artwork. But it wasn't until 2012 that I made a complete career switch and fully dedicated myself to the arts. Despite the challenges I have faced along the way, I am enjoying every step I take towards achieving my goal.
Go To Where Your Dreams May Flow, Oil on linen, 150x200 cm, 2022 © Robert van de Graaf
The Alchemy of Dreams, Oil on linen, 180x220 cm, 2022 © Robert van de Graaf
You have a background in architecture. How does it influence your work as a painter?
I guess I like clear forms, balance, and compositions, and I always 'design' a painting more or less before I start a new work. There is an initial idea for a painting which leads to a study sketch. Most of the time, this sketch already contains a lot of information about the actual painting. In architecture, there is also something very powerful about the initial sketch; sometimes, the whole project is already embedded in that simple first sketch. And in my experience, the first sketches are usually the best in terms of the accuracy of the core of the idea.
There is also a connection in the working method, I think, being a kind of structure in the different phases of the process; Inspiration, thinking of the series, choosing a place as a 'stage' and collecting materials, visiting the place, making sketches, creating little storyboards per painting, building up the paintings in different layers.
And some collectors told me they could see architectural influences in my work. They specifically note the clear and strong compositions, the balance of the work, and the way I use textures. Furthermore, some collectors have expressed they enjoy the strong spatial quality of the works.
Is there a piece you consider a "breakthrough" in your career?
The piece which remains very important to me is "t Groningerland', which is a large-scale oil painting (150 x 240 x 3,0 cm, 1998) I made when I was 15 years old. The work is hanging in our living room, and I spend a lot of time analyzing it because I remember what kind of great freedom I felt during its creation, and I see this as my basic natural painting style. Nowadays, I would say I am in a complete state of flow, which I aspire to be in most of the painting time, but that is a very hard thing to accomplish.
With every series I create, I have my favorite works, and some works are more important in my development than others. But it is difficult for me to mention real absolute favorites because I often like specific parts or elements of a painting. A special work for me is the first triptych I made, 'Stories of the Ego, Self, Soul.' This work has a lot of freedom in it, and I really tried to further explore my mark-making in the creation. I tried to charge the mark-making with meaning, representing a deeper (subconscious) feeling and desire and integrating musical qualities in the mark-making. I aspire to have an orchestra of mark-making, moving from the heavy impasto bass to the twinkling sad cello gently dripping down on the canvas, and maybe the trumpet will give some sharp solo marks and the oboe will give that little extra sparkling accents where the painting suddenly becomes alive.
I hope my efforts in developing my mark-making will result in works that speak more directly to the heart and soul. In that philosophy, I feel a strong connection with Jean-Michel Basquiat, Zao Wou-Ki, Joan Mitchell, and Cy Twombly.
A very special moment was when a collector visited my studio to see new work. When I showed him the small work 'La Solitude,' it made him very emotional. Before his visit, I had been doubting if the work was finished and if I should show it to him. I did the work when I was in a state of total flow; the work was just suddenly there, very special. He asked me if he could buy the work and because of that very intimate special moment I immediately agreed.
So a small breakthrough moment was when I experienced the potential and power of a painting despite the small dimensions of the work. These are the best examples I can think of that come close to a breakthrough. Maybe I will really create that breakthrough piece one day; that would be very exciting.
In the Darkest Times, Let the Light Shine in the Haven of Your Soul, Oil on linen, 180x220 cm, 2021 © Robert van de Graaf
Can you tell us about the process of creating your work? What aspect of your work do you pay particular attention to?
My artworks are an expression of my journey to find meaning in life, which leads me through all kinds of experiences, feelings, emotions, places, moments, and knowledge. In this process, I compile a selection of some of these elements and create a series of that information. Some series explore more on personal processes ('Stories of Transitions'), and some explore more on specific texts ('Visions of St. John the Divine') or the experience of a place ('Silence and The City').
When I have my main theme of the series, I do research about the topic and collect my materials for inspiration. I usually choose a particular place or environment as a 'stage' for the series. After that, I visit the place or environment and take my photographs. I like that the works are sort of grounded on Earth in this way.
Once I have selected my favorite photographs, the creation process becomes quite organic yet structured. I have my notebooks where I write down interesting stuff that may be useful for the paintings. During this research and (photograph) selection phase, I make notes with schemes of painting possibilities that pop up in my mind; I make small sketches and turn them into drawings and/ or watercolors. Recently I also started to write poems before and during the creation process. I basically create the context of the painting so that I can channel the expressive and emotional brushwork I like to use.
All these different elements in the creation process are important to create a piece I like, but I pay the most attention to the painting process. All my materials are spread out on my working table with my different brushes and oil paints. I stand in front of my working table, and there I choose my colors, look at the work, look at the colors, going back and forth; what type of brush am I going to use? What does the painting need? A small brush filled with lots of paint to make some strong accents, or maybe a big brush with strongly diluted paint to make some subtle marks. I just love every bit of it, the battle of the painting process, the searching for balance in a work or deliberately creating a tension with a dis-balance.
Usually, I am also thinking about certain painters (from all times of history) in the process, and then I research them a bit and use them as a reference or inspiration in my work.
Your paintings are mostly landscapes with some mystical or spiritual elements. Where do you find inspiration for your work?
My inspiration comes from spiritual and religious stories, mythology, mystical places, and the philosophy of life. I am interested in the connection between the mystical in this world and the connection and relation to the spiritual world. I really enjoy and feel inspired by all kinds of nature, the sea, forests, and mountains. For me, the landscapes of the Earth are a way of connecting to the core of our existence, and they give me peace of mind and elicit introspection.
In the process of creation, I am also seeking the divine experience within myself, but without the pressure from any religion, longing for inner freedom. As I mentioned before, I use a particular place as a 'stage' for a new series. In this way, the inspiration is also grounded on Earth and in life. My work also reflects my ongoing personal journey to seek meaning in life, and my inspiration is therefore also strongly inspired by my personal experiences in life.
I also like very much to look at the work of artists through all times of art history, such as Anselm Kiefer, Caspar David Friedrich, Jean-Michel Basquiat, Cy Twombly, Zao Wou-Ki, Megan Rooney, Adrian Ghenie, Joan Mitchell and the old masters. They can inspire me in every layer of the process of creation.
Let the Flowers in Your Heart Bloom, Oil on linen, 210x160 cm, 2022 © Robert van de Graaf
The Birth of Air Castles, Oil on linen, 210x160 cm, 2022 © Robert van de Graaf
What about your colors? You seem to have recurring colors you particularly enjoy using. Do they have any specific meaning for you?
Well, I guess that's something that happens mostly unconsciously. There is no planned idea about the colors I will use, but apparently, I choose more or less the same a lot of times, although I have a lot of different colors. One of the things I am most proud of in my studio is my large working table with all my oil colors (mostly Old Holland oil paint) laid out. When you see the paintings in person, you see that I mix a lot of colors to get a wide range of different color tones. My choice of colors comes from a specific feeling, emotion, or longing and should emphasize the meaning of the work.
I have noticed that the Earth's colors are often mixed with a significant amount of orange and yellow. These colors give a vivid and energetic feeling. And I particularly like to use purple, and especially in the skies. I also just really love the color purple, and I like that the color is often used to symbolize spirituality. But I am also fond of blue, mixing it with many different colors and using its various tones to create a vibrant and dynamic sky that feels alive.
What do you think about the art community and market?
I really like the art community and market, and I actually aspire to be more a part of it in the future. The whole art world is truly inspiring, and I love to follow the (international) art world news. It is amazing that there are so many artists being inspired by so many different subjects and that they are working with such a variety of different materials. Despite considering myself to be a traditional painter, I am also interested in and inspired by artists working with different kinds of materials, such as the sculptors El Anatsui and Sonia Gomes.
I see the art community as all these different kinds of little islands of artists from all over the world working on their own creations. These islands connect, mingle, inspire, and come together in exhibitions all over the world. I find this very inspiring.
In regard to the art market, my feelings are twofold. I like there is so much attention and importance on the arts globally, both in ancient, modern, and contemporary art with so many great museums, galleries, and art platforms involved. A lot of people are visiting exhibitions, learn about and through art and enjoy looking at art.
However, it would also be very positive if the importance of living with a piece of art would increase in importance throughout a larger part of society. This would boost the sales of starting and emerging artists and will make the lives of artists and smaller galleries much easier. Living with a work of art enriches daily life, and it can provide something magical only a work of art can give. In my opinion, a good work of art communicates with its viewers and can add something essential to daily life.
Enlighten My Valley of Trust, Oil on linen, 90x110 cm, 2022 © Robert van de Graaf
There's a lot of painting work on the market these days; how do you differentiate yours from the rest? What do you feel makes your work unique and truly your own?
There is a lot of painting on the market, I know, and I think that's a positive thing in many ways. Talking about why my artworks stand out feels a bit awkward, but I will give it my best shot because I firmly believe in my art.
From the moment I started painting seriously at the early age of thirteen, I have been doing my own thing. While working, I noticed a deep source of inspiration that I can still draw from today. In my current work, I continue to be inspired by the themes that have inspired me throughout my youth. I cherish this continuation of inspiration. The inspiration is simply there inside; it truly belongs to me, waiting to be unleashed on the canvas. And I think that is different on a very essential level from choosing an inspiration with the mind.
This also enables me to put a lot of feeling into a painting and give it a certain depth, which, when I look at other contemporary artists, turns out to be difficult for many of them. That, in itself, makes my work special and unique.
I think that my way of painting, with my rather structured way of working and the meaning I infuse into it, makes it possible for me to connect to certain things, feelings, contemplations and experiences through my work. In this way, I think I have developed quite a unique approach. My work has many layers in terms of content and feeling, but also in the painting methods and styles I use. In my opinion, this leads to highly evocative and powerful artworks, without being loud.
My audience often remarks that you can feel their impact when you see them, and the works communicate in a subtle way without becoming invasive. Throughout the creation process, I strive for my artworks to possess these nuanced and poetic qualities. A curator once told me that "the unique approach excels through the subtle reinterpretation of art historical and contemporary cultural references." This is an important part of my artistic process. I move back and forth through art history, still learning a lot, and use these inspirations as references in my artwork while also connecting to contemporary cultural issues as how we relate to faith and our personal introspection to grow as a person.
Sometimes I only find out afterward that a particular part of my process and inspiration is connected with a certain aspect of art history. Likely all these different layers and influences that compose the artworks make them unique. These layers are formed by landscape painting, history painting, contemporary cultural references, and the use of different painting styles such as action painting, impressionism, expressionism, abstract expressionism, figuration, symbolism and lyrical abstraction.
This creates a visual experience of these landscapes which connects to the inner experience of the journey to find meaning in life, blended with the influences of music, literature, and poetry. I like my paintings to create a language with a wide range of mark-making that can speak to the heart and soul of the viewers, not just to their reason and mind. So I aim to produce artworks that differentiate themselves because they can connect to all these different aspects and levels through the creation process.
God’s Breath of Life in the Oasis of the Soul, Oil on linen, 180x360 cm, Diptych, 2021 - 2022 © Robert van de Graaf
Stories of the Ego, Self, Soul, Oil on linen, 180x450 cm, Triptych, 2022 © Robert van de Graaf
What are you working on now, and what are your plans for the future? Anything exciting you can tell us about?
Currently, I am working in full process on my series 'The Alchemy of Dreams,' which contains 21 oil paintings in a variety of formats, watercolors, study drawings, and poems. I started the series in May 2022, and currently, I am going into the last phase of the series, which is also very exciting.
The series is inspired by the dreams in life, daring to live your legend, Alchemy, 'The Alchemist' by Paulo Coelho, making air castles come true, about persistence, grit, faith, the soul of the world, the birth of dreams, Dutch skies and dunes.
This series is staged in the dunes in and near Scheveningen (The Hague, the Netherlands), very close to where my studio is situated. To see my progress on the series, please visit my Instagram.
It is pretty exciting that I have just returned from a short trip to France to collect materials for my next series. Giving myself the time to start thinking and collecting my materials before the last series is completed gives me the possibility to let the content of the next series grow through time. The next series is being influenced by the current series to be able to create a continuation and interesting connection between the series.
I am also very happy to be selected for two publications, one in ArtMAZE Magazine, issues 32- 33, and the other in Aesthetica Magazine, issue 113.
Furthermore, I am also in the process of finding a suitable international gallery to represent my artworks for the long term. It is a very exciting process with a lot of research involved. In the process, I learn a lot about the different galleries and their artists. From the situation of being represented by a great gallery, I hope you are going to see a lot more of my work, I hope in the near future?..
What do you hope to accomplish this year, both in terms of career goals and personal life?
My most important career goal is to get represented by a good international gallery and to build a good relationship with them. That my artworks are seen by a large audience and create a strong market for them, with both private collectors and cultural institutions. To be able to create meaningful and thought-provoking exhibitions and try to add something small but valuable to the life of the viewer. This is my most important career goal. Hopefully, I will succeed this year. Otherwise, I will try again next year until I succeed. When I achieve that important goal, I just like to work, work, work, being able to focus even more on my art making. Another important career goal is to keep on pushing myself to develop, learn and improve my artmaking and to keep on delivering interesting artwork. A part of the process is to reserve more time for reading and research as well. On a personal level, my most important goal is to achieve my career goal, and I can create a certain amount of financial freedom for my wife and me. On another personal level, I also like to improve myself as a person in the practice of trust and gratitude, staying nice while being frustrated, feeling hurt, or angry about something. I also like to have more time for playing the piano and biking. As you hear, I want a lot of things, so this is always a challenge; always short on time, though.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
