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RIEN VÖRGERS

1923 - 2013 Enschede, The Netherlands
http://nl.wikipedia.org/wiki/Rien_Vörgers | www.rien-kunstschilder.nl

within and behind the pictures. His artworks, give vent to a vocation
of the manual gesture, for the pleasure to express themselves through
the drafts of color, for the representations of ideas on two-dimensional
surfaces, alternating the canvas with wood panel and looking between
the three-dimensional, between cuts and transparencies, between
surfaces and pigments, between figuration and abstraction.
His painting style is unmistakable: from the zoomorphic representations
of women (see ’Blijf van mijn Lijf Huis’ -House of refuge for maltreated
women-, 1994) to the changing meanings of symbols, from occult
knowledge to the rules of the composition of colors and classical
aesthetics. The criterion is based on the harmonic proportions obtained
through the application of the ”golden ratio” and the processing of
tracks resulting from the diagonals of the square, which from the
structure of most paintings as ”Despair” in 2008. The use of lines in
the space and planes of color derived from abstract geometry, the
iconography of imaginary and poetic language of his research create
a new way of artistic language, mixed and anchored in iconic and
bizarre codes. In the creations of the last decade we determine his
way of pictorial mosaic, where a personal symbolism crops out, that
PICTORIAL MOSAIC BY RIEN VÖRGERS leads to viewing the item, to the signs, to the alchemical ideograms
”Blue is the splendor of dreams (Rudolf Steiner - The essence of the colors)”
and rebus loads of meanings, related to an intimate and subjective
alphabet, a sort of secret diary whose interpretation only he possesses.
It is great pleasure for me to comment about the artworks of Rien Symbolically supreme offers such as reading of reality with symbols
Vörgers, one of the most interesting artists of the ’90s. A versatile traced in the history of humanity, in which logic and mystery travel
artist: he was interested in theater, architecture, and only in 1979 in the same lane in the reciprocity of the exchange, where the color
he devoted himself totally to painting, offering a search of great becomes light in the shadow, where the graphic sign becomes writing,
artistic and cultural rigor. Regarding his career, great art critics have where the prospect becomes track and the symbol becomes memory,
been interested, recognizing in his works Rien Vörgers as an artist where the metaphor meets the concept, where matter and support
able to convey his personal view of the world, which is his own became fertile land open to new dimensions, where meeting what is
world. A world full of color and textured painting that highlights this inside become what is outside and vice versa. Reality and surrealism,
”mosaic style” as he defines it. His evolutionary stage is marked by the visible and invisible, rationality and irrationality, order and disorder,
this creative manifestation, observing the pre-classical art style in measure and balance: these formulas are placed on the same picture
contrast with the virtuosic and descriptive style that distinguishes plane that leave us, contemporaries, the question of deciphering the
him among his contemporaries. Metaphors, symbols, allusions and complex architecture of his soul.
archetypical meanings of shapes and lights, represent naturalism Dores Sacquegna
and transcendence, sacred and profane love, the Orphic and the Critic and Curator of Contemporary Art
mystery, offered to us with hermetic and kabalistic ideas, based on
the state of being, that is, to that inner evolution that the artist has
in his own simplicity. Eternal return to a playful and ironic dimension,  LUBRICATING OIL (NICE), 1991 GOUACHE 20X27.5 IN. | 70X50 CM.
that connotes all painting production by Rien Vörgers, he marks the NOSTALGIA, 1993 ACRYLIC ON CANVAS 23.5X31.5 IN. | 60X80 CM. 
key stages of the artistic language in the second half of the ’90s, ENSCHEDE CARD, 1992 GOUACHE 20X28.5 IN. | 51X73 CM. 
between classed artists such as Miró, Kandinsky, Klee and Chagall. ONCE UPON A TIME (THERE WAS A FACTORY), 1998 RELIEF, ACRYLIC ON PANEL 27.5X33.5X7 IN.
Vörgers, creates visually and with originality a pictorial style that offers | 70X85X18 CM. 
enjoyment to the viewer and puts it in terms of discovering what lies ADJACENT, 1991 GOUACHE 40X27.5 IN. | 100X70 CM. 

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