Acrylic on canvas
Acrylic on canvas
Charlie is based on a painting of a gypsy boy with a tear on his cheeks. In the seventies of last century was a reproduction of this work for almost everyone above the fireplace. As a child I asked myself always wondering who that crybaby would be. Charlie cries in any case, and whether he will ever be as popular as the gypsyboy I do not know, I have nothing against … That idea
Sergio Carreón Glez, Actor, Tepic, Mexico
“I met Pieter and his work thanks to the magic of the web… Admire the work of this artist, the topics covered and the way he treats them is an invitation to the joyful irony of life and its constant energy flow. The world of this artist is a world with many shades, where the strength of color and specificity of the details as main elements of his work, allow the viewer delight in a parallel universe, almost a virtual reality and a window to the gift of this talented man; a decade of sparkling humor, twinkling colorful, amazing magic, incisive creativity and great talent. Pieter Zandvliet is the perfect combination between genius, irreverence, imagination, mordacity and eloquent talent.”
World Citizen 2012
acrylic on canvas
In the large dark blue, Pieter World all pieces put down that he likes. Mountains play a major role. As the Andes Mountains in Peru, Patagonia in Argentina, St. Moritz in Switzerland and other mountains and buildings that our government has blue marble.
Besides the main character on his shoulder is Malala who looks tired, recovering from the terrible attack on the brave girl’s life.
Behind her nothing but loving people, animals and flowers.
acrylic on canvas 100×100 cm 2012
I visit Rome in 1998 with my wife Xandra and Stephson Itam. It was like walking around in other times.
I never forgot the impression it made on me. So I made Roma in 2012. A beautifull girl from Rome with the city and bones of Rome around her head, like flowers in beautifull collours. And in the bones the people who walking aroun in Rome.
Rene Maagdenberg Artist Meppel NetherlandsPieter started pouring in my life when I met him at a joint exhibition. I became a fan instantly. At that moment I had not –consciously- seen any work from the man. When and where we collided we found a shared past, a shared present, a parallel universe. Nice for starters.
Of course I googled him at home. Usually that’s a bit disappointing, now I was pleasantly surprised. I stumbled into a cosmos of familiarities, a tiny tad bigger than the one I’m accustomed to, and the interior design had its minor differences. Where ever you laid your eye on; it spoke of Pieter’s presence or at least of his swift return after a short walk with the dogs.
While getting to know Pieter and Xandra more and more, the depths in his work became increasingly deeper, something you don’t see all too often in modern art anymore. Fashionable extra dimensions, now available with increasingly less depth!
Not in the work of Zandvliet. Under one layer there’s another layer, behind that one hides another, shyly peeping around the corner. In seemingly uncomplicated looking outlines the tiniest detail dances forward, expressing in its simplicity a world of stories, the rest of the painting seemingly holding its breath, as if not to disturb anything.
We passed a couple of years now, made a series of paintings together, fitting astonishingly beautiful in both our oeuvres. Each collaboration standing on its own in a special way.
And I got to know more work of Pieter, a few hundred I suppose. What at first seemed to be a chaos now appears to be having amazing structures? Not unlike the spiraling cosmic arms of a nearby galaxy. My favorite tentacle being the one with drawings, drawings that present themselves as being quite plain a first sight. Then you get to know them, read their story (or better; stories), taste their colours, and hear their music. That’s where I think the essence lies: the so called Zandpad. I do believe! And I do realize that whilst writing this, Pieter’s universe has expanded, even more.