Le stupende illustrazioni dell’artista visivo olandese Redmer Hoekstra uniscono in maniera geniale e personale, animali e oggetti di uso quotidiano.
Attraverso l’utilizzo del fineliner a pigmenti Staedtler crea raffigurazioni surreali di grandissima precisione, in opere che sono un mix affascinante di contrasti e connessioni tra elementi organici e artificiali, biologia e meccanica, creature viventi e oggetti inanimati.
Le cose che vedo nella mia vita quotidiana si trasformano nella mia piccola realtà surreale che mi fa ridere, ammirare e meravigliare. Mi fa riflettere sulle cose che faccio e sul perché le faccio in quel modo particolare. Ogni persona crea la propria realtà, che la sappia o no. Mi piace sensibilizzare le persone esagerando la realtà.
Fineliner drawings on paper warp and shift before our eyes giving a glimpse into the weird but wonderfully brilliant mind of this Dutch artist. Graduating from the Art Academy in Zwolle, Netherlands in as a visual artist and illustrator, Hoekstra has not stopped his mind from wondering. Daydreaming is a trait that many schools would probably like to see lessen in the classroom and in their students but if you’re creative it can sometimes be the very best tool for discovering your niche. Redmer has “always loved alienation and fantasizing, daydreaming” and was lucky enough to rediscover this passion during his time at the academy.
Children have a fascinating way of seeing and attempting to understand the world. Without proper explanation, theories run rampant and with a good enough imagination, all sorts of weird and wacky thoughts begin to spiral around in their minds. Many of us are unfortunate enough to lose connection with this fascination of all the things around us. With knowledge and understanding in adulthood comes a loss of this childhood wonder. Redmer is an artist who has whole heartedly embraced this youthful mindset and uses it alongside his
Decía Goethe que si pintabas un perro exactamente como era, naturalmente tendrías dos perros, pero no una obra de arte. Esta postura frente a la precisión y el detalle que tan bien expuso en su día el erudito alemán es compartida por una parte del mundo del arte y abucheada por la otra. Redmer Hoekstra, un ilustrador holandés al que tuve la fortuna de entrevistar, ha sabido colarse por una de las tantas grietas que dejan este tipo de debates estériles sobre lo que está bien y mal en el arte para ofrecernos una versión notable del mundo en que vivimos.
Redmer Hoekstra nació a mediados de en Zwolle, una pequeña ciudad holandesa de un poco más de habitantes a las orillas del Mar del Norte. Estudió ilustración en la Escuela de Bellas Artes de la misma ciudad y su trabajo ha sido premiado en varias ocasiones a nivel nacional.
Tras graduarse en comenzó a experimentar con medios tan distintos como la animación, la arcilla o el dibujo digital antes de decantarse finalmente por la pluma fineliner, según él, eje de su estilo: “en mis trabajos es importante que una piel de cocodrilo parezca real para que el aspecto surrealista de la pieza tenga mayor impacto. Muchas pe
Redmer Hoekstra, An Artist Who Revives Childhood Fantasies Through His Surreal Illustrations
Do you recall those childhood memories when your imagination would take you to places that were beyond reality? Redmer Hoekstra, a Dutch illustrator, brings back those memories through his surreal illustrations. He combines random objects and animals to add a spark of fantasy to his artwork.
More: Redmer Hoekstra, Instagram h/t: demilked
In an interview with DeMilked, Hoekstra explained his creative process and the message behind his art. “What I like is that everything is possible, but the brain does not accept everything. It is analyzing the world in patterns. That what you know is safe, and new things stick out. So, I sometimes disguise a subject as something normal, so the mind wanders by. But if people take a second look, they see that not everything is what it appears,” he said.
Hoekstra discovered his passion for this style of drawing in his final year of art academy. He said, “After struggling for two years with not knowing what my story should be, my angle of attack, in the end, it turned out to be the thing that I had been doing as a child. Creating my explanations
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