Jan Maarten Voskuil
2013 nomination MK award
2012 and 2006 Stipendium for Established Art Mondrian Fund
2010 Publication Contribution BKVB Fund
nomination Wim Izaks Prijs
2002/1999 and 1996 Stipendium Fund for the Visual Art (fonds BKVB)
2009 Contribution BKVB fund for workingperiod EKWC Den Bosch
2004 Commission Ceiling Piece, Spaarnestad Fotoarchief (now PK37, artspace), Haarlem
Collections
Frans Halsmuseum Haarlem; Stedelijk Museum Schiedam, Schiedam; Museum Boijmans van Beuningen, Rotterdam; CODA Museum, Apeldoorn; Wilhelm Hackmuseum, Ludwigshafen (D); Wannieck Gallery Brno (Cz); geometric Madi Museum, Dallas (USA); Museum Voorlinden, Wassenaar; Collection Sanquin, Amsterdam; Bouwfonds Nederlandse Gemeenten, Hoevelaken, Bank Nederlandse Gemeenten, Den Haag; Collectie Achmea, Apeldoorn; Collection Nationale Nederlanden, Amsterdam; DELA collection, Eindhoven; Collection Mannheim Versicherung, Mannheim (G); Jin-Sin Women and Children's Hospital, Hsu Rong-Jiang Architectural Firm; Museum Ritter, Waldenbuch (D). Many private and corporate collections in Taiwan, Europe, Japan, China, Australia, South America and the USA
%E2%80%9D%2C%202024%2C%20%2C%20150x105x15cm_.jpg)
%E2%80%9D%2C%202024%2C%20%2C%20150x105x15cm%2C%200%2C25_.jpg)
%E2%80%9D%2C%202024%2C%20%2C%20150x105x15cm%2C%200%2C75_.jpg)
%2C%202023%2C%20acrylics%20on%20linen%2C%2090x90x9cm%2C%200%2C5.jpg)
%2C%202023%2C%20%2C%2090x90x9cm%2C%200%2C25.jpg)
%2C%202023%2C%20%2C%2090x90x9cm%2C%200%2C75.jpg)
.jpg)
%2C%200%2C75.jpg)
Jan Maarten Voskuil (Arnhem 1964) stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the circle, the square, and the rectangle He stretches the frames with linen and usually paints them in monochrome colors. With a minimum of means, he manages to develop a broad spectrum with his work whereby he partly stands in the tradition of the constructive, minimal, and concrete art of the twentieth century.
His work is labeled as spatial object, sculpture, autonomous design or even architecture. He himself consistently continues to call the work painting because his frame of reference is painting. Spatial or not, "It remains paint on canvas, and deals with the limitations of the flat surface," he argues. "Conversely, you would call Carl Andre's work sculpture even though it's mostly flat, wouldn’t you?"
Still, there is something to be said for seeing in Voskuil not just a painter. Over the years, his ingenious stretchers have become primarily modular constructions, which can sometimes be assembled in various ways. This makes him not only a painter but also a "builder" of paintings, which brings him very close to architecture.
In his latest series of works the exploration of space is accompanied by the (re)introduction of emptiness into the painting. The modules are no longer connected to each other. Although this disintegration already made its appearance in the series Dynamic Monochromes, from 2012 onwards, in the form of indentations between the modules, this in-between space, like the cuts, is now much more thematized.
