Pieter Slagboom

Pieter Slagboom, biography in brief

1956 Born in the Netherlands.
1976 Lives in the USA. Works in Idaho. Becomes increasingly conscious of the significance and potential of space.
1977 Lives in Japan. Explores ancient Japanese architecture and drawings; first encounters with the philosophy of perception and observation.
1981 Graduates in sculpture/installation from the Academy of Art and Design St. Joost, Breda, the Netherlands.
1982 Lives in New York, USA.
1982-85 Creates several large-scale spatial projects, and works at sites that were not intended for art.
1982 Spatial project, Mercer Union, Toronto, Canada. This coloured spatial structure creates a static moment in the viewer’s dynamic world.
1983 Spatial project, Dordrechts Museum, Dordrecht, the Netherlands.
1982-85 Lives in Antwerp, Belgium.
1984 Spatial project for the Ortelius embankment in Antwerp. Trans-shipped wood is used to create three temporary spatial installations. The work influences the spectator’s movement.
1985 Lives in Madrid, Spain. Experiences the impact of religion.
1985 Spatial project for the Plaza Mayor, Madrid, Spain. The work is based on and is a reaction to the bronze statue of Philip II on the Plaza Mayor.
1984-96 The spatial works during this period eschew all references to imagery in a quest for pure spatial experience. Works on several indoor as well as outdoor commissions.
1988 Spatial project for the Kunsthalle Mannheim, Mannheim, Germany.
1990 Spatial project for the Württembergischer Kunstverein, Stuttgart, Germany. Starting point was to absorb light caused by specific activity of pigments in glass.
1992 Spatial project for De Vleeshal, Middelburg, the Netherlands. Pigments in glass and plastered walls were structured in such a way that they absorbed the architectural space of De Vleeshal, making the spectator’s movements feel static.
1992-98 Travels through Europe to study the collections of and artistic activities at various museums.
1996-97 Compiles book of photographs and texts about these travels. (Unpublished.)
1996-99 Works on architectural models. (Glass, plaster, textile and paint.)
1997-98 His architectural models and studies of museums lead to the commission to design a new museum in the ancient abbey in Middelburg, the Netherlands. This building was to be constructed with a glass mosaic ‘outer skin’. Large, brightly coloured tapestries, hung five metres from the outer skin, would have created an ‘inner skin’. The five-metre distance would have reconciled and mixed the colours and textures from the outer glass mosaics and the inner tapestries, creating an ‘intangible substance’. This ‘substance’ would have been visible from outside and inside the building, resulting in a dynamism which confronted passers-by and influenced their movements. The project was not realised. A book was published on this project.
1999 Starts to paint. Figurative elements appear, initially small but later medium sized.
1996-99 Works from this period dominated by the principle that if a work’s starting point is figurative, the work will be smaller than a human being and two dimensional; if a work’s starting point is abstract, it will be larger than a human being and three dimensional. In these cases anthropomorphic references occur in proportions.
2001 Starts to work on small black-and-white drawings.
2002 Visits Berlin. Influenced by the significance of this city.
2003 Starts to work on large drawings in colour.
2004 First exhibition of the drawings at De Vleeshal, Middelburg, the Netherlands. The exhibition includes two large-scale wall drawings.
2004-08 Concentrates on large drawings in colour. Studies two-dimensional figurative phenomena and the interaction between subject matter and colour.
2004-08 Several visits to Berlin. These visits start to influence the drawings.
2005 Book “Pieter Slagboom, Tekeningen” published by Stichting Beeldende Kunst Middelburg. This is a book about the drawings exhibited at De Vleeshal, Middelburg, the Netherlands. Text by Rutger Wolfson and Florent Bex.
2006 Represented by Krammig & Pepper Contemporary, Berlin, Germany.
2006 First comprehensive exhibition of the colour drawings at Krammig & Pepper Contemporary, Berlin, Germany.
2007-12 Starts work on a large-scale project for the Ruhr Gebiet in Germany. This project is the first occasion on which architecture and drawings are integrated. (In cooperation with the Dortmunder Kunstverein and the Kokerei Hansa.) Not realised.
2008 Curates Nein Tanz Ja, an exhibition for six artists at Krammig & Pepper Contemporary in Berlin. The starting point for this exhibition is the physical and psychological significance of architecture in the works of these artists, in connection with the architecture of Berlin.
2001-17 Works exclusively on drawings.
2009 Solo presentation at Art Amsterdam. Exhibits a part of Parma Violet.
2010-11 Launch of Parma Violet project in Berlin. Parma Violet is a self-contained unit within his drawing oeuvre which clarifies the oeuvre’s complex underlying principles. Parts of the project have been exhibited but the project as a whole is presented in Pieter Slagboom’s book Parma Violet with an accompanying text by Lorenzo Benedetti, director of De Vleeshal in the Netherlands. Parma Violet was published in September 2010 by Revolver Publishing, Berlin in cooperation with Galerie Thomas Schulte, Berlin. It was presented at the Frankfurt, New York and London book fairs in 2010, 2011 and 2012 accompanied by 24 small, original works.
2011 Takes part in the All About Drawing exhibition which includes works by Marlene Dumas, Mark Manders, Lily van der Stokker, Marcel van Eeden and Arno Kramer. Stedelijk Museum Schiedam, Schiedam, the Netherlands. Works from the exhibition also appear in a catalogue of the same name.
2011 Starts the drawing project Salt. The larger size of paper sheets originates new themes and techniques. The project uses colour to add complexity and intensity. Technique symbolises the content.
2012 Double Light. Bytheway Projects, Amsterdam. Small drawing project for the artist run space Bytheway Projects, curated by Jeroen Kooijmans.
2011-13 Advisory committee-member of the Mondrian Fund, Amsterdam.
2013 Starts to draw in Paris in frame of the drawing project Salt.
2014 Spaceburo. Lovejoy Unit 1. Group show. Antwerp.
2015 Center for Visual Art, Design and Architecture, Middelburg (NL).
Walldrawings. Realised. Catalogue. Text Sandra Smets. Group.
2015 Spaceburo. Solo drawing project Wet Towel. Antwerp. September 6 – October 18, 2015.
2016 Beginning of the Tree series I and II in New York in frame of the drawing project Salt.
2017 Publishing of the book Salt by Revolver Publishing, Berlin. Authors Nickel van Duijvenboden and Grete Simkuté