"Poetry, emotions and a strong desire to be taken serious. Hand me the jar of peanut butter, when is our next meeting ? "

Barentz, The codex of informal agreements, October 2017

"To observe is to witness is to be is to intervene"

S. Zlyvachi, diary entry from September 15, 1919

"Reflections on a surface are never without history, not even if the surface is made of soil"

Remcia reitz, from The journal of ill forgotten lands, 2012

" To witness is to fictionalize"

To me an Unknown source

"Oily skin, slow meandering of the veins over a canvas, as opposites in that room we found ourselves in the middle, constantly spinning on our axis. every shift creating an after image” , S.H


" These days remind me of others " , M.Milne

" It is not often, but sometimes these demons are the paint and the painted" , R.K.

" Seventeen steps and three jumps. We know we had reached the ice flow when the sounds we had heard earlier became a feverish pitch underneath our hurting feet. I could not wait to let my memories become the blanket for the night"

G.Sardoni from The Ostrich and the last stand, 2014

"Was it the sound or the skin, either way nobody ever touched its surface again"

G.Sardoni from The Ostrich and the last stand, 2014

"In an interview you once said that you did not believe this kind of work might be worth continuing in the face of all the seriousness that surrounds it. Can you please tell me more about this seemingly odd statement ? R. then brought her face closer to mine and almost inaudibly uttered one line of words.'

Dennis Waltz from Never Mind the Mind,1998


" That first meeting led me to believe that there was indeed more to the appearance then previously thought."

J.Klez from The last orchard, 1956

"Complete and utter failure of the image, take another one. A sip that is"

Marianne S. Trest from The hotel guest, 2013


"Hollow man, hollow child, branches and slow moving water. It was the birds call that awoke them and flooded them gently, like the water filled the river bed, slow and steady."

M.N from Nightshade, 1913

"Through his practice he is investigating, referencing and challenging the possibility that contemporary, collective memory could be contained within a reproduction. he investigates narrative, time and the way they have historically been used in painting, aiming to create a critical dialogue while responding to historical and contemporary events, visual art and the interpretation of the visuals that surround individuals. In part he is attempting to define who is spectator or participant and how to read and understand spectacle (e.g. as event, landscape). " Serinna Torbe, Conversations with G., September 2016




Contemporary Art / Painting / Installation Video projects all
Jeroen Witvliet in Collaboration with Studio Ax-M