{"id":4896,"date":"2022-05-07T11:26:29","date_gmt":"2022-05-07T11:26:29","guid":{"rendered":"https:\/\/gallerymcsorley.com\/?post_type=product&p=4896"},"modified":"2024-07-15T07:32:31","modified_gmt":"2024-07-15T07:32:31","slug":"michal","status":"publish","type":"product","link":"https:\/\/gallerymcsorley.com\/nl\/product\/michal\/","title":{"rendered":"Michal"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"

Elektrografie in vloeibare glos,83 x 60 cm<\/p>\n

Lieve Prins<\/b> (1948, Belgi\u00eb) begon op 16-jarige leeftijd binnenhuisarchitectuur te studeren en voltooide de Academie voor Schone Kunsten in Breda (Nederland). Later verhuisde ze naar Amsterdam om audio- en visuele communicatie te studeren aan de Filmacademie, waar ze betrokken raakte bij de anti-kunst theorie\u00ebn en 'happenings' van de vroege jaren 1970. <\/span>Haar boek <\/span>Raak aan<\/span><\/i> schetst Prins' carri\u00e8re vanaf het moment dat ze haar medium vond in 1981, ge\u00efnspireerd door een toevallige observatie van een kinderhand op een kopieermachine. Niet lang daarna, toen ze een zelfportretproject leidde op de school van haar dochter, nam ze op een dag de klas mee naar een plaatselijk warenhuis met een zak vol kleingeld en tilde ze op de zwart-wit kopieermachine om te kopi\u00ebren - terwijl twee leerlingen toekeken. <\/span>Ze was meteen weg van de texturen en patronen die eruit kwamen, en ook van de 'magische directheid - niet wachten op negatieven - van het kopieerapparaat. Hierdoor kon ze leren van haar fouten in een strakke actie-reactielus die ze opwindend vond.<\/span><\/p>\n

Een jaar later werd ze samen met een aantal Amsterdamse kunstenaars uitgenodigd om te experimenteren met de nieuwe kleurenkopieermachines van Canon die op A3-papier konden printen. Zo ontstond de eerste van vele reizen naar het hoofdkantoor van Canon op Schiphol en een bedrijfskunstzinnige symbiose die tot op de dag van vandaag voortduurt. <\/span>Haar onderwerpen door de jaren heen waren voornamelijk huiselijk: familie, liefde, persoonlijke voorwerpen, verf in poedervorm, op de markt gekochte zeevruchten, plastic platen. Haar thema's werden altijd op een organische, fysieke manier gepresenteerd.<\/span><\/p>\n

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Later, she moved to Amsterdam to study audio and visual communication at the Film Academy, where she became involved in the anti-art theories and \u2018happenings\u2019 of the early 1970s. Her book Touch charts Prins\u2019 career from when she found her medium in 1981, inspired by a chance observation of a child\u2019s hand on a photocopier. Soon after, leading a self-portrait project at her daughter\u2019s school, she one day trooped the class down to a local department store with a pocket full of change, and lifted them onto the black and white copy machine and copied away - while two pupils kept watch. She was immediately smitten by the textures and patterns that came out, as well as the \u2018magical immediacy \u2013 no waiting for negatives \u2013 about the copier.\u00a0 This allowed her to learn from her mistakes in a tight action-reaction loop that she found exciting. A year later she was invited with a number of Amsterdam artists to experiment with Canon\u2019s new colour copiers that could print on A3 paper. So came the first of many trips out to Canon headquarters at Schiphol and a corporate-artistic symbiosis that continues to this day. Her subject matter down the years has been primarily the domestic: family, love, personal objects, powdered paints, market-bought seafood, plastic sheets. 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