Thea Vos (1956)
In my work, people and animals are represented in all kinds of ways. Sometimes alone, often several figures on a canvas. The people stare at you, whether or not in their nudity. They seem soulless, lonely, their words silenced. There are often masks, blindfolds and face- or headless figures to be seen. Sometimes figures are caged. Girls have a pop-like appearance. The dog often traverses this image.
My fascination goes out to the emotion. The emotion as a universal fact, independent of culture, race and zeitgeist. The emotional deformities that occur when young people are taught to behave appropriately. The painting process is the search for what is real and what has been learned or imposed.
While painting I search for objectification of the image that is being created. By painting away parts of the work or sometimes adding new elements, I "de-bite" my subject. Layer by layer. Until only that which really matters remains.
In this way a process of individuation takes place while painting, a broadening of consciousness, which, in the words of Jung, "leads to adulthood, to what you have always been". I paint the awakening of the female image, no longer hindered by the girl who was hindered by her upbringing and family history.
For my paintings I use an image archive, a collection of images via the internet, from newspapers and by photographing myself. The images I choose are always loaded with memory or recognition. A painting often starts with a collage, which is intuitively composed from this collection of images.
I prefer to work in acrylic, because this material allows sanding, polishing and washing. I use silk-screen printing and transfer techniques to create depth, sharpening and blurring in the painting in order to express past and desire.
A work can sometimes stand a long time in wait, only to be suddenly tackled again. I do not hesitate to change the image drastically. The work must always meet the criterion that it is "real". Only then is the work completed.