Art in Auroville: Three Exhibitions Alan
Warning: include(../press/...For many years, Olaf Van Cleef has been a senior executive with Cartiers, the exclusive jewellers, and many of his paintings reflect the intricacy and concentration of jewellery design. He uses recurring images — of snakes, crosses and circles — and strong, vibrant colours, often in small contrasting blocks, which give some of his work the appearance of a mosaic and the flavour of folk or aboriginal art (although he claims his major influences are Miro and Dali). The colours are usually clearly demarcated by strong outlines, boundaries. “I take extreme care,” he says, “to demarcate my boundary before I begin to work...Life, according to me is very strict. It has very visible boundaries that you should not cross so that you can preserve the beauty in it.”
<p>Paradoxically, I found the most interesting of his works were the ones where, just for a moment, he loosens the reins. His “Fruit Bowl and the Snake& in /home/olafvancleef/olafvancleef.org/archives/index.php on line 162
Warning: include() [function.include]: Failed opening '../press/...For many years, Olaf Van Cleef has been a senior executive with Cartiers, the exclusive jewellers, and many of his paintings reflect the intricacy and concentration of jewellery design. He uses recurring images — of snakes, crosses and circles — and strong, vibrant colours, often in small contrasting blocks, which give some of his work the appearance of a mosaic and the flavour of folk or aboriginal art (although he claims his major influences are Miro and Dali). The colours are usually clearly demarcated by strong outlines, boundaries. “I take extreme care,” he says, “to demarcate my boundary before I begin to work...Life, according to me is very strict. It has very visible boundaries that you should not cross so that you can preserve the beauty in it.”
<p>Paradoxically, I found the most interesting of his works were the ones where, just for a m in /home/olafvancleef/olafvancleef.org/archives/index.php on line 162
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