Visual artist Bert Frings received an I&V grant for his research in 2024 Between procedural action and intuitive craftsmanshipFor years, Frings has been working in relatively small formats. For over seven months, he explored what format and the repetition of subjects could mean for his artistic practice. How did he go about it? We look back at the research process.
Immediately after Frings heard his application had been approved, he began exploring his options and acquiring materials. Frings: "Through linocuts on paper, I was able to experiment more freely with formats and compositions. This technique allowed me to adapt more quickly and gain new insights into the relationship between object, format, and space. My still lifes are usually based on the actual size of the objects depicted; this research offered the opportunity to question and stretch that relationship. It felt good and refreshing to step away from my daily painting practice and immerse myself in a new technique. I started with soft-cut plates and inexpensive printing ink to allow me to experiment freely. I soon discovered that the choice of materials significantly influences the final result. Professional printing ink proved to be much more suitable for my tempera paintings in terms of color intensity and pigment than student-grade ink, which is dull and viscous. The quality of the paper also proved crucial: sketch paper is only suitable for proofs, while high-quality paper—such as Japanese rice paper—produces much richer results."
Interesting twist
The first prints surprised Frings. Some had a photographic look, others were reminiscent of screen prints. Frings: "Working in negatives required a change; when transferring drawings, I sometimes forgot in the beginning that everything had to be mirrored. As I gained more experience, I began to understand how to create depth with layers and cutouts. After a few months, I had produced a series of linocuts with varying results. By combining these, compositions emerged that gained depth and are related to my paintings. I printed on larger sheets than strictly necessary so that I could use the edges for tearing and pasting. This created collages that serve as studies for larger formats. I deliberately limited my use of color to maintain the focus on form and composition. The composite images are more reminiscent of supermarket shelves than classic still lifes, which added an interesting twist to the research."
Open end
Although not all the questions from the beginning of the project have been answered, Frings believes the research has definitely enriched his practice: "With the help of the Impulse and Depth program, I've started something that's actually open-ended. Progress has been made during the past period, but no boundaries have been set yet. One direction I can definitely add to my skills as an artist: creating prints. The initial reactions from those around me to the works on paper have been very positive. I look forward to showing parts of the research."
Impulse & Deepening Scheme
The next application deadline for the I&V scheme is September 29, 2025, at 11.00:XNUMX a.m. Read more about the scheme here.
Podcast TENT x Operator Radio
In 2023, Jeanine van Berkel interviewed Bert Frings about his work and the nomination for the Dolf Henkes Prize. Watch and listen to the podcast here.
Image above: Bert Frings, Dolf Henkes Prize 2023, TENT