INTERVIEW: STRYBER2017 | ITSLIQUID

INTERVIEW: STRYBER2017

Interviews | August 9, 2022 |

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Image courtesy of Stryber2017

Interview: Stryber2017
Luca Curci talks with Stryber2017 during VISIONS, third appointment of ANIMA MUNDI 2022, at Palazzo Bembo.

“As an adult, I started to visualise those moments on huge wooden panels; in “Impressionistic style”, complete with written comments, and also illuminated whit other fragments of my life at that time. Like an earlier monk, I wrote with adhesive letters, and long comments in special squares; my work then look like a twisted ‘Mondrian’; that was in the 80-ties. Around 2000 I had new inspiration and made a wooden work as big as a garage door, with all the Angel- and Vision-moments; and became to use another style; less painting and starting to put more assemblages into the works.”

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Image courtesy of Stryber2017

Luca Curci – What’s your background? What is the experience that has influenced your work the most?
Stryber2017 –
I was born, in 1952, in Gouda (cheese) Holland; and had my education around 1970 at the school of Building Art in Rotterdam (NL). In my youth painters such as Dali, Esscher and Mondriaan were in the picture; and the architects Rietveld and Le Corbusier stood also in the picture. Salvador Dali is and was my favourite.

LC – How did you get to your current artistic practice?
S –
My artistic practice came in waves; around 1980; 2000 and 2010. In the 80s I was still influenced by my building arts education; my artworks from those days: “SCROLL-VISION; TEXEL-VISION and DOUBLE-VISION”; are looking like blueprints of a house. Around 2000, when I became 50 years old; I painted my “Biography”; on a huge wooden panel; 250 x 250 cm., named: “THE-SANDFLOOD”. The base of the artwork was now changed from a house blueprint with let’s say 10 separated parts, into an Octagon: with 33 separated parts. And in that time, I already used the practice of ‘Assemblage’; putting materials such as sand and other stuff into the works. Around 2010, I became ‘lazy’; and used in my artwork in that period: “THE-FATIMA-CROSS”, for 50% assemblage stuff. Because my artworks were so extreme big and heavy, I communicated with the outside world on Internet; like on a website; with images of the works and the many parts of the works; the Internet was my ‘Atelier’.

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Image courtesy of Stryber2017

LC – Which is the role the artist plays in society? And contemporary art?
S –
Artists can trigger mankind’s perspective, emotional as well in actual matters.

LC – Are your artworks focused on a specific theme?
S –
Absolutely, they are focused on the relation of mankind with ‘God’; specific the ‘Christian-God’. I would never be a painter if not for this ‘God’ who has given me serial Visions and Angel-Encounters in my youth. I visualised those moments, to communicate to the outside world, like the stained glass windows in the Christian Churches, or the images the early monks painted in their Brevier.

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Image courtesy of Stryber2017

LC – Did your style change over the years? In which way?
S –
As I wrote before, in the 80-ties my style was influenced by building art, and in an Impressionistic style, it did look like a house blueprint. Then, 20 years later, in the second wave; I changed the structure into an Octagon; which was divided into 33 parts; with all kinds of shapes, and brought in the first assemblages, like sand and other materials. In the third wave, around 2010, I made a base; and then was generous with all kinds of artefacts like Papyrus, stamps, a mirror, cotton, etc., assemblage-style; also, I used around 10 loose panels, together they formed the artwork; and I like that style. But also, I stayed loyal to painting on wood in all the 3 waves.

LC – We were attracted by your last artistic production, has the artwork presented been created for the exhibition or as a part of preexisting works?
S –
It’s a pre-existing work, 40 years old, and those 3 works, are in essence a Trilogy; they are connected, in style, performance, and appearance, and together they form a story; the older they get, the more actual they get; which I explain in E-Books, since 2014.

LC – In which way the artwork presented in our exhibition is connected with the exhibition’s theme?
S –
A Vision is like an open window, pointed to the future; it can be a wish, a reality, or a wide range of windows. So, if the ‘Gods’ have a Vision, an open Window to the future, they send this message with the help of Angels to one or more persons on Earth; I guess they have the duty to share this Vision with mankind, so exhibitions, especially with the theme ‘Visions’; are one of the roads to bring this message.

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Image courtesy of Stryber2017

LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
S –
Certainly, especially when you bring, like ITSLIQUID, exhibitions in diverse themes on an imposing stage like in Venice. I am impressed by the great scale of your projects, and the many people you reach through your network, magnificent!

LC – What are your suggestions about our services? Is there something more we can provide to artists?
S –
My first experience with ITSLIQUID is not yet finished, next week I will visit the exhibition, then I have maybe some suggestions.

LC – What is your idea about ITSLIQUID GROUP?
S –
You can jump in or out, and bring your Artwork to a larger public, on an imposing platform; every artist must have their works, if only once in a lifetime; on your stage!

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Image courtesy of Stryber2017

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