Rens Lipsius started painting in his teens converting his early love of nature to experimentation with camera and brush. Over the last three decades, he has completed a magisterial body of work guided by his approach to art as a total oeuvre. The work is widely shown in Rens Lipsius’ Ideal Artist Houses.
"I always work on at least two panels at a time… And I am particularly happy when I notice a painterly glow uniting the two to make it a diptych…"
"There are 20 so far in the series, but actually they are all individual works…"
Oil and mixed media (such as, marble dust, wax medium, earth, metal, etc.), individual sizes (1995/96–2012)
These large important paintings were made at different locations, with reference to nature and urban environments, at different points in time.
I generally paint polyptychs or series of panels…I see my paintings as a sequence of unfolding planes or spaces…
Modular compositions, mixed media on individual panels, approximate total size 330cm x 460cm.
"This comes from observing nature… changing planes of vision open to interpretation; it’s never boring…and draws one in."
Large Standing Figures & Abstract Panels
Large Standing Figures
Large Standing Figures were initially painted over a three-year period in 1999-2002 along with the same-size Abstract Panels and against the background of a major land-art project, The Light Observation Field ( Friesland, the Netherlands).
"I worked on the Figures at the Varick Street Studio in New York, always during the night. Painting without light gives a better sense of shape, of the volume in space."
Oil (occasionally mixed with marble dust) in glacis à l’huile on fine linen glued on canvas, each panel 122cm x 244cm (1999/2002-2010)
A figure to me is always a figure in a landscape, in space…
Abstract Panels work in parallel and in counterpoint to the Large Standing Figures: they are of the same size but at a different level of abstraction, the Panels were painted in daytime and the Figures—during the night.
"I was probably affected by my work on the Light Observation Field, and in order to capture the changes in light and material I saw there, I used all possible techniques of painting on the canvases spread on the studio floor in New York."
Abstract Panels were exhibited with the videos of the Light Observation Field running on small screens placed on cubes in front.
Oil and mixed media (such as marble dust, oil wax, etc.) on canvas, 122cm x 244cm each panel (1999/2002-2010).
"A figure to me is always a figure in a landscape, in space…"