ABOUT THE ARTIST
Welsh born artist Hanneke van Ryswyk grew up in the Netherlands and returned to Wales in 1998. She graduated from the University of Wales Trinity Saint David, Swansea in 2006. After graduating, van Ryswyk worked in textiles and ecological fashion. In 2011 she returned to her art and moved to Ireland. Hanneke is currently based in Blackwater, County Wexford.
Hanneke has held five Irish solo exhibitions since moving to Ireland. In 2013, Hanneke was awarded a residency by Coracle at Kultivera, Tranås, Sweden. She has also been awarded residencies at Cill Rialaig artist's retreat, County Kerry and has attended residencies at the Tyrone Guthrie Centre, County Monaghan. In 2014 she was awarded a Visual Arts Bursary by Artlinks.
Her work can be found in the Office of Public Works collection and she is a featured artist on The Drawing Suite. Her solo exhibition 'Residues of Time' was reviewed by the Sunday Times arts critic John P. O'Sullivan
“These small, mysterious, and alluring paintings are abstract explorations of the effect of weather and climate change on the surface of the earth. The chilly images are more icescapes than landscapes. The frozen world she invokes has a post-apocalyptic feel to it. Icy shapes writhe like monsters enveloping the blasted land. The amorphous shifting terrain shows no signs of human involvement.”
Before Hanneke commences painting, she prepares her boards and wood panels using traditional gesso. Gesso is a white primer consisting of rabbit-skin glue mixed with whiting (chalk). Gesso is used to coat wooden panels, boards and canvas to give a smooth surface to paint on. The preparation for traditional gesso takes time, the process involves dissolving the Rabbit skin glue in water in order to size wooden panels. Next, whiting is added to the rabbit skin glue stirring it until it is of a creamy consistency. The mixture is now ready to apply to the panels in thin layers, allowing each layer to dry completely before applying the next. Each layer of gesso requires a light sanding between coats to achieve the smooth surface desired. Hanneke repeated this process four times for her paintings. 'The bright gesso surface is wonderful to work on and helps give my colours their luminosity', says van Ryswyk.
van Ryswyk’s latest paintings were made at the Tyrone Guthrie Centre in County Monaghan where she was inspired by the nearby lake, drumlins and constantly shifting skies. Up until now Hanneke's work has been influenced by climate change and the aftermath of melting glaciers. Hanneke visits locations in Ireland to witness for herself the formations glaciers have made in the land.
Hanneke's abstract paintings are small, delicate and atmospheric with suggestions of clouds, islands, mountains and subtle shifts of light from early morning to dusk. Like her priming, Hanneke's painting process involves working in numerous thin layers, using pigment bound with co-polymer. Her paintings have intricate textures from repeated sanding and scoring of the surface and are illuminated with gentle colour from jade greens to pinks. Her subject matter is imaginative, the works are still and infused with memory.
HANNEKE VAN RYSWYK
Born Carmarthen, Wales 1983
2015 Night Visions, Pigyard Gallery, Wexford
2014 Residues of Time, Olivier Cornet Gallery, Dublin
2012 Origin, The Norman Gallery, Wexford
2012 Archipelagos, Olivier Cornet Gallery, Dublin
2011 The Birds, The Norman Gallery, Wexford
2017 187th Annual Exhibition, Royal Hibernian Academy, RHA, Dublin
2016 CASe 2016, The Lavit Galery, Cork
2016 ART WORKS - 37th Annual Open Exhibition and Hotron Art Prize, VISUAL, Carlow
2016 186th Annual Exhibition, Royal Hibernian Academy, RHA, Dublin
2016 VECTOR - Curated by Will O'Kane, Cultúrlann Sweeney, Clare
2015 185th Annual Exhibition, Royal Hibernian Academy, RHA, Dublin
2015 A Terrible Beauty a touring group show with the Olivier Cornet Gallery at The Octagonal Room, Dublin
2014 Reflections, Olivier Cornet Gallery, Dublin
2014 VUE National Contemporary Art Fair, RHA, with the Olivier Cornet Gallery, Dublin
2014 Festival Opera Wexford, Greenacres, Wexford, Ireland
2014 Sybils of the Slaney, Newtownbarry House, Bunclody, Ireland
2013 AC3 The Time Keeper, Olivier Cornet Gallery at Filmbase, Dublin
2013 Pride, Ballymaloe House, Cork, Ireland
2013 Furniture, curated by Will O’Kane, Wexford Opera Festival
2013 Summer Art Festival, Tranås, Sweden
2013 painting + drawing, curated by Anya von Gosseln, Newtownbarry House, Bunclody, Ireland
2013 Featured artist on The Drawing Suite
2013 Wool House, with The Cill Rialaig Project, Somerset House, London
2013 Land Marks, The Blue Egg Gallery, Wexford, Ireland
2012 AC2, Olivier Cornet Gallery, Dublin
2012 / 2011 Winter exhibition, Bridget McDonnell Gallery, Melbourne
2012 / 2011 Summer and Winter exhibitions, Cherrylane Fine Art, Wicklow, Ireland
2012 VUE National Contemporary Art Fair, RHA, with the Olivier Cornet Gallery, Dublin
2012 Convergence, Olivier Cornet Gallery, Dublin
2011 The Alchemist’s Chamber, Olivier Cornet Gallery at Filmbase, Dublin
2011 Winter exhibition, The Norman Gallery, Wexford, Ireland
2011 ART250 exhibition, The Cill Rialaig Project, Kerry, Ireland
2008 Summer exhibition, Mumbles Road Gallery, Swansea, Wales
2007 Summer exhibition, Coterie Gallery, Wales
2006 Summer Open exhibition, Oriel Gelf Glynn Vivian Art Gallery, Swansea, Wales.
2006 First Class BA (Hons) Surface Pattern Design - Contemporary Applied Arts, University of Wales Trinity Saint David, Swansea
Office of Public Works, Ireland
RESIDENCIES AND AWARDS
2015 / 2014 Tyrone Guthrie Centre, Annaghmakerrig, Ireland
2015 / 2013 The Cill Rialaig Project, Ballinskelligs, Ireland
2014 Visual Arts Bursary - Artlinks Professional Development Award
2013 Kultivera, Studieframjanet, Tranås, Sweden
2014 July - Drawing Paper # 7
2014 May 11th - The Sunday Times, Culture Magazine - Irish Edition. John P. O’Sullivan [p. 29]
Full colour catalogue with essay by Selina Guinness, (IADT, DunLaoghaire). Author of The Crocodile by the Door: a memoir of a house, a farm and a family
Residues of Time
Full colour catalogue with essay by Jeremy Hill, Director of The Norman Gallery, Wexford.