m.simons is delighted to announce Choir of Nonsense, the inaugural solo exhibition by Joost Krijnen at the gallery. This exhibition will open on Thursday, May 30, 2024, coinciding with the Amsterdam Art Week, and will remain on view through July 6, 2024.Choir of Nonsense presents a dynamic exploration of Krijnen's distinctive artistic language, characterized by a whimsical interplay of figures and compositions that contrast with the dark humor and macabre subjects at their core. The exhibition features an array of Krijnen’s work, from intricate small drawings and expansive watercolors to commanding large-scale paintings, all of which invite viewers into the artist's idiosyncratic universe.
The exhibition begins with a striking black and white canvas titled Neue Welle. This piece teems with animated objects: an irate wave surges over a nonchalant wine bottle, while a cooling tower and a sun look on with mixed emotions of horror and disbelief. Krijnen’s practice of associative drawing is evident in the interplay of forms and figures, each composition evolving organically as he layers and reworks his images, even transforming a nuclear plant with expressive characters.
At the center of the left wall, two large works on paper depict dual figures—a skeleton being manipulated by a puppet drawn in minimalist acrylic lines. In contrast to the depth and complexity of Neue Welle, these works are deliberately flat, set against backgrounds of fluid acrylic layers, highlighting Krijnen's versatility in creating spatial and textural contrasts.
A single small painting, Frightened Ocean Dwelling Spirit (2024), draws inspiration from a traditional Japanese woodcut. The original woodcut features a large black ghost looming over a ship in turmoil, yet in Krijnen's reinterpretation, the ghost appears disoriented, not the ship. This painting exemplifies Krijnen's nuanced approach to line and plane: the crisp, intentional acrylic lines confine and shape the poured, fluid acrylic, introducing an element of spontaneity to the color application.
Opposite these works, a third large work on paper titled OV commands the far right corner. Bright and vibrant, the composition juxtaposes a cheerful sun with the macabre image of a man being split in half, encapsulating Krijnen’s signature blend of whimsy and dark humor.
The right wall is dedicated to three small drawings from Krijnen’s ongoing associative drawing practice. Each piece reveals different influences and techniques: the central drawing references a scene from the film Nosferatu (1922), while the left drawing echoes the style of Goya, and the right drawing appears as an exercise in rendering hands. These small formats serve as a proving ground for Krijnen's visual ideas, showcasing his mastery in capturing intricate details and gestures.
Krijnen's journey from intimate sketches to large-scale canvases is evidenced in works like Frutti di Mare. His ability to translate the immediacy of his drawings into larger formats is not simply a matter of scale but involves a sophisticated adaptation of his associative methods to expansive surfaces.
