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Guusje van Noorden

Guusje van Noorden (Schaesberg, The Netherlands) lives and works in Maastricht. She studied at the Academie voor Beeldende Kunsten (Academy of Arts) (1972-1978) and at the Jan van Eyck (Higher Academy of Arts) (1977 - 1979) in Maastricht.
She was privileged to receive the prestigious European Prize for the art of Painting from the city of Oostende (Belgium) in 1982. In 1988 she received a scholarship from the city of Mannheim (Germany). In 1991 she was honoured in Italy for her graphical work with the Medaglia d'Oro del Communo di Mapello (Medal in gold of the community of Mapello). Much of the works of Guusje van Noorden can be seen in international exhibitions. She has presented her work at various galleries in Spain and Germany (amongst others), and, of course, in her own gallery (Schuwirth & Van Noorden) in Maastricht.



cuento espanolas

During her scholarship in Mannheim in 1988 she developed an interest in printing techniques and subsequently developed the series called "Tutti Frutties". Guusje portrays still-life style, a favourite theme of the Seventeen Century Dutch Masters, in idiosyncratic structures related to those of the pop-art style. Her style is sometimes sweet, sometimes hilarious.

After a series of exhibitions in Spain in 1991 her use of colours changed markedly as a consequence of her exposure the warm southern light and desolate landscapes. Cool heavenly blue is replaced by warm ochre. She created a series of silk screen prints based on the poem "Al la cinco de la tarde" by Garcia Lorca, a poem in which a heroic matador perishes.

Her earlier paintings elicit associations with the Cosmos and the Metaphysical. The heavenly profundity, the blue skies, and the endless distances in the Galaxy-series of 1987 can been perceived as the silent witnesses thereof.
Since 1994 her interest has increased in the reachable "micro-cosmos". Increasingly she strives to approximate the essence of painting.

The monumental oil paintings of Guusje van Noorden picture her own reality in expressive abstract colour structures. The emotional charge is supported by a dynamic wielding of the brush and radiant colours. Abstract painting does not use recognisable subjects, but must be perceived as pure pictorial expression.

In the work of Van Noorden atmosphere and image are determined by fluent patches of paint and vibrant colour combinations. By this the developmental process is clearly visible. The numerous layers of paint shift the central theme to the background and actively involve the spectator, as it were, in her modus operandi and the matter of which her works consist. The layered structure suggests a spacial effect inviting the spectator to capture the image in depth. This effect is further enhanced by the use of contrasting colours. Thus images exist that allow the viewer ample room for his/her own interpretation.