Robert van Bolderick is of both Swedish and Dutch descent. He works as an artist mostly in mixed media, with inspiration from his travels to Central America, Asia and Europe. Van Bolderick’s signature style typically uses techniques such as oil painting, acrylic and mixed media with newspaper clippings, sheet music, old photos and flyers, creating contrasts between ancient and modern symbols.
Robert will often create an image in which the meanings of the adjacent symbols change, using hieroglyphs and cave paintings along with the modern symbols of our mass media society, old family pictures, notes, recent events, or historical extracts in text and images. This creates a picture where these symbols lose their inherent symbolic value and become part of a new image.
Van Bolderick’s works are available at many private collectors in Sweden, the U.S., Europe, as well as in organizations such as Sweden’s parliament, the European Economic and Social Committee, the Swedish Embassy, and much more.
“When you first meet Robert van Boldericks paintings one feels an irresistible urge to start twisting and turning on them. Of course you do not do it, but instead try to move closer to not miss any important detail. Photographs, sheet music, newspaper articles, and much other stuff listed, flanked by small primitive figures and symbols.”
Petra Holm, Örebro Courier
“Creativity, style and choice of color, minimal but very strong.”
Melissa Colangelo, Artmeet
“Conveys a sense of authenticity, documenting the lives and our footprint through time. This has happened, mixed with a dreamy, ethereal world. It is an art that concern.”
Irenne, Gallery Studio four seasons
“Magazine clippings looming up over the impasto paint layers. The images are aesthetic appealing. Painting both superficially and deep.”
Annika Forstorp, Allehanda
“Robert van Bolderick is an artist of Dutch and Swedish origin.
By using a mixed technique that combines acrylic, oil, gauche, to the praxis of collage, Van Bolderick gives life to artworks with dreamlike and vibrant scenarios that imprison on the canvas tracks of the real and of metaphorical evocations. Newspaper clippings, fragments of images, emerge with difficulty from the complex circuit of transversal meanings, blocked and trapped by the intense and enveloping chromatics that confers restless sonorities. The paintings on display may appear to refer to a typically Dadaist aesthetics of the case, but at the same time they’re purged of the Dada polemic force and iconoclastic fury. In fact, in the artist’s paintings colour, cut-outs, symbols of a mysterious past, like of the present, slowly emerge on the surface in a continuum of summons and recovery, composing and compressing themselves into new formal structures capable of returning the memory of reasons and feelings, and emotionally closer to the Rauschenberg’s memory palimpsest.”
Virginia Bazzechi Ganucci Cancellieri11
