G i t t a P a r d o e l
Space Between
in de beschutting van de berg
waar de kronkellijn van de weg
is uitgerekt,
zien wij in droge kleuren
de trage woestijn
die de tijd vergeten is.
zij kruipt aan ons oog voorbij.
in de verte, strenge rijen
staccato oplichtende glitter
van zonlicht op metaal
een voordeel van de technische revolutie
ons ontwakend, met een zucht
in deze huidige tijd.


Gitta Pardoel……………..Restore Place

The latest works from Gitta Pardoel seem to go about furnishing space through raw, recycled material. She visualizes by these works, details of nature through her artistic vocabulary. She processes the material (wood) to expand the significance of place and to index the ideas, after stripping the material from its decoration. In doing so she let us measure our surroundings in a new way. The places now furnished with this crude material leads their expression through the neutrality of its material and the spontaneity of the performance.
These groups of works, made out of wood and trash formate entities depending on the space itself, the landscape, without purloin or hide the identity of the place, or confuse its virginity.
The artist Gitta Pardoel, looks at the landscape as a poem. We cannot disturb this poem by wiping away its ink. We cannot change its being, but we can artistically read its logic, hear its speech, without abusing its value or identity. The artwork shall keep the nature in balance for us and clarify meanings.
These installations form a code to point out our lives and our isolation. At the same time they restore the place from its solitude through visual reflections, to reveal our presence in the scene, the scene which reduces our daily questions which besiege us.
Perhaps the ruins and the presence of uncertainty more than our own presence in the scene. They dress the soul of the material. The soul meant to be isolated from its body to turn into a residue as if the ruins eroding by migration.
The works of Gitta Pardoel are divided between the appearance of vertical forms like the vertical humans of Giacometti, which seem to be a representation of anxiety and frailty of the individual and his existential obsession. And between blocks placed in a repetitive position like they were gathered by nature itself, like the place has been abandoned or as luggage from which we do not know what is in it or what its destination would have been.
Gitta Pardoel graduated from the Technical university of Delft, NL, in 1991 by earning a master degree in architecture. She studied fine art at the school of fine art in Utrecht and obtained a master degree in art, architecture and design from the university of Montfort, UK. She worked at a variety of offices in the field of architecture, urban design and landscape architecture and carried out many designs. Currently she works as a lecturer of interactive architecture, art and spatial design at the Royal Academy of Art in the Hague and at the academy of Art, Communication and Design in Tilburg. She participated in many international exhibitions including Italy, Spain, Holland, Germany, Sweden, Argentina and Qatar.

Ali Rashid, 2016
3 wilgen, sculpture for a garden, woodblocks, 2016

Kunstschouw, 2016
Fuente alamo, inspired by the water in this place which still let life live, photo set up, 2016

ik richt mijn blik omhoog
en wacht op mijn eureka
verborgen in het landschap
de ontdekking nabij.
maar nu kijk jij naar het verleden
zittend in de cirkels
onder het rond van je parasol,
de dood tastbaar om je heen
hoewel het water hoorbaar is.
het toerisme van nu zoekt
plekken van herinnering
wij zijn van ver gekomen
langs stof en citrusfruit.

Landscapes, acrylic and pencil on linen, 90x90 cm, in cosignation, 2016
Landscapes, acrylic and pencil on linen, 90x90 cm, 2016
Landscapes, acrylic and pencil on linen, 40x40 cm, 2016
Landscapes, acrylic and pencil on linen, 90x90 cm, 2016
Landscapes, acrylic and pencil on linen, 90x90 cm, in consignation, 2016
Landscapes, What is landscape? Watch out! Here is a good definition written by Ton Lemaire, a dutch philosopher:

At first glance, the word "landscape" seems to refer exclusively to nature, the rural, even the Arcadian. But on closer inspection it appears that traces of human presence can be found in almost all landscapes: almost everywhere one sees houses, an entire city sometimes or ruins; or else there is a walker, a farmer in the field, a fordable place, or a church tower on the horizon. So I may carefully conclude that indeed every landscape contains something of nature as well as of man. Now when I call all traces of people in the landscape "culture", I come to the conclusion that a landscape is a view of both "nature" and "culture".
Ton Lemaire, philosopher
Landscapes, acrylic and pencil on linen, 90x90 cm, collection al Ashmak, Qatar, 2016

International art symposium, Doha, Qatar, 2016
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