SURFACE AND INCIDENT
By David Ryan

TEGENWOORDIGHEID VAN GEEST
Marja Bosma - Conservator moderne en hedendaagse kunst, Centraal Museum, Utrecht

ARTISTS ONLY (DUTY IS IN THE EYE OF THE BEHOLDER)
Part of an interview with Twan Janssen
From ‘The Nature of Painting’

SCI-FI PAINTINGS
By Bert Steevenz
From Metropolis M, 2001

(Parts of an) interview
with Bert Steevenz
Out of ‘Early Monograph/Martijn Schuppers’

THE DISSOLUTION OF THE WORLD
Mieke Bal
Out of ‘Early Monograph/Martijn Schuppers’

FLY ME TO THE MOON
Wolf Guenter Thiel
Out of ‘Early Monograph/Martijn Schuppers’

LIGHT, SPACE AND COLOUR
Bert Jansen
From the ‘Holland-Schweiz 3:2/Zeitgenössische Malerei’ catalogue

NOTES ON ‘THE NATURE OF PAINTING’
Martijn Schuppers
Out of ‘Early Monograph/Martijn Schuppers’



Out of ‘Early Monograph: Martijn Schuppers/Paintings1994-2002’
Cato Publishers, 2002 ISBN 90 80691216
Fragment out of an article by Wolf Guenter Thiel

FLY ME TO THE MOON



When the viewer of Martijn Schuppers’ paintings begins with what he encounters, from real existence interpreting his own idea, he could think of moon landscapes, microscopic shots or skin and cell structures or other surface structures from the microscopic photography.

Starting from this he may admire the virtuous gift to depict supposedly familiar structures. The viewer, like Umberto Eco suggests in his ‘The Open Work’, makes the imaginative connection between his world of experience and memory. This interpretive meaning is subjectively combined and done intentionally by the artist in his creative process. He could suggest, for example, a certain reference in the titles. On the other hand no described open plot, no narrative story is applied here, rather a factual reality is presented. The process described here by Eco is therefore not at all narrative, but technically an observation and recognition of something factual and subsequently its interpretive associative order.

Martijn Schuppers creates such suggestive paintings that the viewer instantly processes his complete recollection of images in order to classify them, arranging in the context of previous images. Images of landscapes of Mars from the applied research of the universe, of molecule structures of the cell biology. Here we see a symptomatic specification in the observation: the inner eye swings between a macro- and a micro-interpretation of an fragmented image presented with structure.