Geerten Verheus

Hondsdag / Dog Day #8

2021, rubber, 170 x 24 x 35 cm (SOLD)

Loud, Clear

2007, Collage from newspaper on cardboard, 32 x 44 cm

Eine Freude und eine Ehre in Rot

2021, acrylic on canvas, 130 x 147 cm

EineFreudeUEEIR F — Eine Freude und eine Ehre in Rot,
2021, acrylic on canvas, 130 x 147 cm

Behold!

2004, Collage from newspaper, 17 x 23 cm

Unendlich und Endlich

2021, Stainless steel, 82 x 75 x 8 cm

Diagramm #59: Empirical Superstition

2009, Collage of commercial print and vinyl on glass plates, 51 x 39 cm

Ausgangsposition

2017, Acrylic on 70% wool, 30 % acrylic, 34 x 68 x 2 cm

Angebot (Star peddler)

2021, Rubber, canvas, liquid rubber, 122 x 93 x 106 cm

Verheus, Angebot (Sternenkrämer), 2021, 122 x 93 x 106 cm, Gummi, LW, Flüssiggummi — Angebot (Star peddler),
2021, Rubber, canvas, liquid rubber, 122 x 93 x 106 cm

Diagram #47: Acquired loyalty

2007, Collage of commercial print on glass plates, 38 x 29 cm

Kunstje

2016, Acrylic, 90 % cotton, 10 % elastan, 15 x 48 x 2 cm

Topsy Turvy

2013, vinyl, stainless steel, brass, 85 x 210 x 50 cm

Biography

1965 born in Amsterdam/ Netherlands
1988-1993 BA in Photography, Gerrit Rietveld Academie, Amsterdam
1998-1999 MA Fine Arts , Chelsea College of Art & Design, London
Lives and works in Berlin

Geerten Verheus often works with inversion in his work. He inverts sculptures, collages, paintings and objects into a different aggregate state and thus always gives new kinds of functional and aesthetic content to the original form. In his recent works Verheus dedicates himself to painting and to the canvas under the aspect of sculpturing: „The sculptural wall works are results of my investigations into the objecthood of the painted canvas. The question, to what extent paintings are also objects at the same time, is probably as frequently discussed as it is dismissed as irrelevant. For me, this question is anything but irrelevant. Because as a sculpturally thinking artist, i'm more aware of the relationship between my own physical presence and that of an object, than the relationship between me and a painting." His painted canvases lack stretcher bars, so the form is held only by the paint. Verheus partially turns the bottom of the canvas inside out, changing the surface of the canvas from invisible to visible and vice versa. The middle section of the canvas, folded neither back nor forward, reveals its full width, contributing to a form "that suggests a generous self-opening, inviting everything, revealing everything, an exhibitionism in the true sense of the word."

Exhibitions

Publications

WELL,, 2006, catalogue with texts by Tobias Vogt and Harm Hajonides, numerous illustrations, 66 pages, german and english, softcover, ISBN 978-90-73583-12-2, EUR 10

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