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Ocean pollution: Rien Vörgers deserves to be called a prophet, because Striking harmony: Most interesting artistically are the completely
he tries emphatically to promote a number of social messages. With abstract gouaches from the nineties with titles like ‘Eternity’,
works like ‘Dumping’ (the fish is crying) and the reliefs on panel in acrylic ‘Heraldry’ and ‘Cyclone’, because there the faces and colours
’Offshore’, he already warned in the early eighties against the pollution provide a striking harmony, which is not disturbed by the quibbling
of the world’s oceans. In the relief on acrylic panel ‘Meal’ he raises the in the title or by the insistently form of engagement. An exceptional
matter of the world- wide food problem. Great fun is the relief on a result in this observation is reached in the acrylic on canvas ‘False
large acrylic panel ‘Tinned Meat Catcher’ (the cat is already victimised) Security’, in which the contents ànd the form do indeed come
on which a roundabout with painted real boxes and tins illustrates the together beautifully: in fact because the combination of title and
present traffic intensity, in which the flat painted cat is the first of a figure is not one dimensional.
great number of future victims.
Aquarels: Quite amusing is the fact, that the organising parties found in
Seer: Two of his works have a really prophetic value: the gouache ‘Tops the painter’s heritage a realistic water colour from 1978 of the street in
Off’ from 1986 plays a prelude on the present cultural crisis with its cut which the exhibition takes place. Quite rightfully this still life has been
off heads of musical instruments, creating a dissonance, now that the taken into the exhibition, together with a few other water colours of the
theatrical arts are being pinched off in a merciless way. More sinister is province of Twente in the East of The Netherlands, dating back to the
the prophetical content of the strange self-portrait ‘Sward of Damocles’ seventies (lok inside www.rien-kunstschilder.nl) . It is an extraordinary
from 1983, on which –represented in the manner of an original icon– coincidence that the building in which the described tribute is taking
a God figure above his universe is going to let down a rocket on the place, was immortalized by the celebrator of his jubilee some 35 years
fearfully drawn head of the artist: after the event of his stroke suffered ago. (Eight months later, after he had enjoyed this last honor to his art,
in 2009, this painful prediction to the abrupt end of Vörgers’ career as Rien passed away at 90 still). Excerpt.
a painter is remarkable. Jet Van Sluis for the Dutch weekly ‘ROSKAM’

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