THE JAUNT ARCHIVE

The Jaunt #007 - Jordy van den Nieuwendijk

120 EUR
Details:
3 colour, hand pulled, screen print.
Signed and numbered by the artist.
50 x 70 cm, frame not included.

More details:
For our seventh trip of The Jaunt, we travelled nearly 9000 km’s, all the way to the always sunny and beautiful Los Angeles. This time we sent artist Jordy van den Nieuwendijk on the road. Ever since Jordy was introduced to the work of David Hockney, he has been a great inspiration. With a book collection on David Hockney that reaches close to 50 different titles, Jordy would certainly beat anyone in a trivia quiz on the life and work of David Hockney. Jordy’s trip was greatly inspired by the years that Hockney lived and worked in Los Angeles. Jordy wanted to get close to the city that has been the backdrop and inspiration for some of David Hockney’s greatest works, including ‘A Bigger Splash’ and ‘Mulholland Drive; Road to the Studio’.


A little word from Jordy
“Quite soon after getting used to spend most of the time driving, and getting a nice tan on the left side of my face, I was struck by the diversity of the nature in Los Angeles. I stumbled upon an amazing amount of plants I only saw before in movies like Jurassic Park and Jumanji. I was expecting a few palm trees, but mostly concrete. Boy was I wrong. I was also – of course – expecting a David Hockney painting. Back home I gaze at his works mostly in the sticky paged books I own, so this was something I was looking forward to. When I arrived at the LACMA on my fifth day, I was finally confronted with Hockney’s Mulholland Drive: Road to the Studio. I have been to the Hockney show in London, and also to the one in Cologne, but seeing this work in it’s natural habitat, made me almost go full retard singing the Bohemian Rapsody.


Besides enjoying the whole lot of LA, I sat down many times, to work. And with that I mean I sat down many times, mostly in the sun, mostly with a cold drink, drawing a lot. I made a lot of drawings in – as I like to call it – crooked perspective. I looked at the most simple objects like chairs or tables or cars, and drew them without considering dimensions, perspective or usability. The inverted perspective we all know from David Hockney was a big influence here. From all the drawings I made, this chair in crooked perspective was the one drawing that I kept looking back at. In the end, although the nature over there really struck me, I decided to not go for a plant (for once) and use the chair for my screen print. So take the chair, sit down, and start drawing.”
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