Originaliteit:
Het is alleen al door het gevarieerd materiaalgebruik en de presentatie bijzonder origineel.

Materiaalgebruik:
De jury vindt het werk moeilijk om te beoordelen. De manier van werken is niet zo goed terug te zien in het beeld. Het zijn abstracte vormen, kleuren en geluiden die overkomen als een continu aanwezige achtergrond. Als autonome kunstvorm heeft het net te weinig zeggingskracht.

Motivatie: Mooie motivatie met duidelijk verhaal over de inspiratie

Advies: Maak een duidelijker beeldverhaal. Verval niet in mooie effecten en aaneensluitende beelden. Probeer een compositie of opbouw te maken in je ‘film’.

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‘Intangible’ is the qualification that comes to mind when confronted with Chris den Engelsman’s work. Its form is constituted by drawings traced by a torch, the images slowly blending. This creates a restless effect, matching the work’s topic, which expresses the restlessness of the world around us. The fragility of the drawings and the intense filming technique give the work a very strong emotional quality. The jury has a high regard for the artist’s attempt at rendering and matching his view of his surroundings using both traditional and modern technical means.

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The judges were unanimous in their willingness, strongly suggested to them by this work, to be led into this beautiful and contemporary interpretation of the self portrait. Even so, the spectator is expected to make his own contribution by making the effort of consciously focusing and training the eye on the work, thereby personally adding to its beauty.
The work’s aim is not to present one single self portrait, but to take the viewer by the hand presenting all Rembrandt self portraits. The artist uses colour patterns in order to establish a link between all eye images of all self portraits. The viewer is sucked in, experiencing moving from dark to bright and vice versa, from sharply lit to dark shadowy passages. This technique in fact highlights the strength of the light and the range of light intensities applied by Rembrandt in different periods of his oeuvre.
The judges admit to being excited by having the gaze of this exceptional painter absorb them, an experience they feel should be awarded with the exhibition’s ‘first prize’.
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