Category Archives: Wall

PIACATU 4 left panel text detail 1 | Karin van Pinxteren | 2017

Paper is as cosmic as the universe # 4

insight and dialogue rosettes 2017 wood, cardboard, text, acrylic paint, fine liner, ink, stamps, tape, magnets 75 x 85 x 1,5 cm     text on wood: Kurt Tucholsky: Ich kann genau das Auge sehen, Das Auge versteht nicht (1927) text on

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PIACATU 4 left panel text detail 1 | Karin van Pinxteren | 2017

Paper is as cosmic as the universe # 4

insight and dialogue rosettes 2017 wood, cardboard, text, acrylic paint, fine liner, ink, stamps, tape, magnets 75 x 85 x 1,5 cm     text on wood: Kurt Tucholsky: Ich kann genau das Auge sehen, Das Auge versteht nicht (1927) text on

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SlowParisoverstrijklicht terug | Karin van Pinxteren | 2017

Slow Paris | 3 nieuwe edities | 3 new editions

Codepoëzie       ‘Slow Paris # over strijklicht terug’ poem & code poetry: Karin van Pinxteren   inkjet on Hahnemühle Photo Rag, 308 gr 40 x 50 cm edition 10, with number & sign   speciale prijs tijdens de tentoonstelling Abstract Wall Paintings III

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SlowParisoverstrijklicht terug | Karin van Pinxteren | 2017

Slow Paris | 3 nieuwe edities | 3 new editions

Codepoëzie       ‘Slow Paris # over strijklicht terug’ poem & code poetry: Karin van Pinxteren   inkjet on Hahnemühle Photo Rag, 308 gr 40 x 50 cm edition 10, with number & sign   speciale prijs tijdens de tentoonstelling Abstract Wall Paintings III

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Slow Paris # Anthony Kok | Karin van Pinxteren | 2017

Slow Paris # Antony Kok

  codepoëzie / code poetry     ‘Slow Paris # Antony Kok’   Voor de expositie Abstract Wall Paintings III in het kader van 100 jaar De Stijl heb ik een aforisme van Antony Kok 1882-1962, experimenteel dichter, schrijver en medeoprichter van

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Slow Paris # Anthony Kok | Karin van Pinxteren | 2017

Slow Paris # Antony Kok

  codepoëzie / code poetry     ‘Slow Paris # Antony Kok’   Voor de expositie Abstract Wall Paintings III in het kader van 100 jaar De Stijl heb ik een aforisme van Antony Kok 1882-1962, experimenteel dichter, schrijver en medeoprichter van

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In Chelva en ernaast - week 4 | Karin van Pinxteren | 2016

In Chelva and next to it

  In Chelva en ernaast   draadpoëzie / thread poetry (Dutch) 4 tekeningen / 4 drawings   50 x 70 cm stempel, inkt, potlood, fineliner op papier / stamp, inkt, pencil, fineliner on paper   residence Chelva Bosch & Simons september 2016   Spanje

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In Chelva en ernaast - week 4 | Karin van Pinxteren | 2016

In Chelva and next to it

  In Chelva en ernaast   draadpoëzie / thread poetry (Dutch) 4 tekeningen / 4 drawings   50 x 70 cm stempel, inkt, potlood, fineliner op papier / stamp, inkt, pencil, fineliner on paper   residence Chelva Bosch & Simons september 2016   Spanje

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PIACATU #3 overview | Karin van Pinxteren | 2017

Paper is as cosmic as the univers #3

insight & dialogue rosettes 2017 wood, ink, stamps, text, paper, tape, fineliner, felt 102 x 57 x 1 cm       text on wood: Kurt Tucholsky: Ich kann genau das Auge sehen, Das Auge versteht nicht (1927) text on tape: Karin: Het is

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PIACATU #3 overview | Karin van Pinxteren | 2017

Paper is as cosmic as the univers #3

insight & dialogue rosettes 2017 wood, ink, stamps, text, paper, tape, fineliner, felt 102 x 57 x 1 cm       text on wood: Kurt Tucholsky: Ich kann genau das Auge sehen, Das Auge versteht nicht (1927) text on tape: Karin: Het is

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Asymmetry is a gift

  hand mirrors wall objects

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Asymmetry is a gift

  hand mirrors wall objects

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uitgave Traagschuim | tekening + poëzie

  One drawing enwrapped by six poems, separate but nested (Dutch) Een tekening omhuld door zes gedichten, apart maar in elkaar passend   tekening:   losse letterstempels, inkt, fineliner, ingekleurd met potlood  |  360 gr zeer stevig papier bundel:     90 gr

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uitgave Traagschuim | tekening + poëzie

  One drawing enwrapped by six poems, separate but nested (Dutch) Een tekening omhuld door zes gedichten, apart maar in elkaar passend   tekening:   losse letterstempels, inkt, fineliner, ingekleurd met potlood  |  360 gr zeer stevig papier bundel:     90 gr

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traagschuim cover voorzijde

edition Traagschuim

    One drawing enwrapped by six poems, separate but nested (Dutch) Een tekening omhuld door zes gedichten, apart maar in elkaar passend   tekening:   losse letterstempels, inkt, fineliner, ingekleurd met potlood  |  360 gr zeer stevig papier bundel:     90 gr romandruk

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traagschuim cover voorzijde

edition Traagschuim

    One drawing enwrapped by six poems, separate but nested (Dutch) Een tekening omhuld door zes gedichten, apart maar in elkaar passend   tekening:   losse letterstempels, inkt, fineliner, ingekleurd met potlood  |  360 gr zeer stevig papier bundel:     90 gr romandruk

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Karin van Pinxteren - I confess, I am an artist

I confess I am an Artist

photography 2011     Photo by Sandra Eijkman

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Karin van Pinxteren - I confess, I am an artist

I confess I am an Artist

photography 2011     Photo by Sandra Eijkman

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Ellipse

Ellipse A text does contain a lot of points. On closer inspection seems that a point can be something very different than the end of a sentence. Point, Pupil, Phantom Point; there is the Point, point. But there is also

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Ellipse

Ellipse A text does contain a lot of points. On closer inspection seems that a point can be something very different than the end of a sentence. Point, Pupil, Phantom Point; there is the Point, point. But there is also

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‘Trust’ | wood, acryl | 2013 | 125 cm x 19 cm x 3 cm | photo by Niek Hendrix

Trust

object wood, text, acryl 125 x 19 x 3 cm 2013    

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‘Trust’ | wood, acryl | 2013 | 125 cm x 19 cm x 3 cm | photo by Niek Hendrix

Trust

object wood, text, acryl 125 x 19 x 3 cm 2013    

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general-law-1 | Karin van Pinxteren

General Law

paintings A macro view of a drop somewhere on a mountain slope, reflecting intense human forces on the surface of the earth, like strain, passion, love and violence.

general-law-1 | Karin van Pinxteren

General Law

paintings A macro view of a drop somewhere on a mountain slope, reflecting intense human forces on the surface of the earth, like strain, passion, love and violence.

In conversation with Anne

‘The Correspondents’ – Kunst in Kolderveen, KiK

Starting with one and the same letter, I have corresponded with five different artists. The main question was whether one should reveal much about oneself as an artist or maybe not. Is it better to mystify one’s personality? Another question

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In conversation with Anne

‘The Correspondents’ – Kunst in Kolderveen, KiK

Starting with one and the same letter, I have corresponded with five different artists. The main question was whether one should reveal much about oneself as an artist or maybe not. Is it better to mystify one’s personality? Another question

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The temptation of virtue - Karin van Pinxteren

The temptation of virtue

photography 60 x 90 cm     priviate collection and stock  

The temptation of virtue - Karin van Pinxteren

The temptation of virtue

photography 60 x 90 cm     priviate collection and stock  

Papier is even kosmisch als het heelal #2 | Karin van Pinxteren7

Paper is as cosmic as the universe #2

During a bullfight, Kurt Tucholsky describes the eye of a horse taken on the horns and killed by a bull before the toreador begins. Prefighting with horses occur to exhaust the bull. Tucholsky is suprised by the arena full of

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Papier is even kosmisch als het heelal #2 | Karin van Pinxteren7

Paper is as cosmic as the universe #2

During a bullfight, Kurt Tucholsky describes the eye of a horse taken on the horns and killed by a bull before the toreador begins. Prefighting with horses occur to exhaust the bull. Tucholsky is suprised by the arena full of

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'Easy to love, but...' | Karin van Pinxteren | 2012 | photo by Sandra Eijkman

Easy to love

24 x 45 cm edition 30 photo on dibond  . . .. . In the depot of an artist-run centre I discovered an ellipse that I had left there in 2000. It was the residue of an object I had

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'Easy to love, but...' | Karin van Pinxteren | 2012 | photo by Sandra Eijkman

Easy to love

24 x 45 cm edition 30 photo on dibond  . . .. . In the depot of an artist-run centre I discovered an ellipse that I had left there in 2000. It was the residue of an object I had

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Logo | mural | Karin van Pinxteren | dark green wallpaint| 2008

LOGO

Each new work is a fragile and stark encounter with me, and that’s why I’m offering you ‘LOGO’. LOGO The LOGO project has evolved from the strange fact that most people are uncertain when an artist presents new work; it

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Logo | mural | Karin van Pinxteren | dark green wallpaint| 2008

LOGO

Each new work is a fragile and stark encounter with me, and that’s why I’m offering you ‘LOGO’. LOGO The LOGO project has evolved from the strange fact that most people are uncertain when an artist presents new work; it

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in-conversation-with-clare-1-karin-van-pinxteren

‘In conversation with Clare’ – Grey Area Gallery Brighton [UK]

  An installation about the small movements of trust and the strange intimacy of a digital conversation between strangers. Six pairs of sentences – all twelve chronological composed – between an artist and a curator out of a mail conversation over a

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in-conversation-with-clare-1-karin-van-pinxteren

‘In conversation with Clare’ – Grey Area Gallery Brighton [UK]

  An installation about the small movements of trust and the strange intimacy of a digital conversation between strangers. Six pairs of sentences – all twelve chronological composed – between an artist and a curator out of a mail conversation over a

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We can't sync - Karin van Pinxteren - 2011

We can’t sync

object wood, card board, acrylic paint 60 x 60 x 1 cm 2011  

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We can't sync - Karin van Pinxteren - 2011

We can’t sync

object wood, card board, acrylic paint 60 x 60 x 1 cm 2011  

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One appears…

Prize € 200,– one appears and disappears in the landscape of the other special edition of the exhibition ‘Part of Someone’s Diorama Museum De Pont the silkscreen is part of the exhibition (24-03 / 13-05-2012) silkscreen on lacquer on mdf

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One appears…

Prize € 200,– one appears and disappears in the landscape of the other special edition of the exhibition ‘Part of Someone’s Diorama Museum De Pont the silkscreen is part of the exhibition (24-03 / 13-05-2012) silkscreen on lacquer on mdf

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Visitor 1 | Karin van Pinxteren

Visitors

Paintings 2005  > . . . . . . . . . . .

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Visitor 1 | Karin van Pinxteren

Visitors

Paintings 2005  > . . . . . . . . . . .

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Existential Interior #3 'Waltz with me' | Karin van Pinxteren | 2007 | photo 'Waltz with me'

Waltz with me

photography 49 x 71 cm edition of 4 Collection Museum van Bommel van Dam / private collectors out of sale    

Existential Interior #3 'Waltz with me' | Karin van Pinxteren | 2007 | photo 'Waltz with me'

Waltz with me

photography 49 x 71 cm edition of 4 Collection Museum van Bommel van Dam / private collectors out of sale    

These Gardens | Karin van Pinxteren | dia lightobject | 2008

These Gardens

These Gardens . . . A woman is walking on the area of the well known fabric factury De Ploeg designed by Gerrit Rieveld surrounded by the gardens designed by Mien Ruys, the first female landscape designer in The Netherlands. She

These Gardens | Karin van Pinxteren | dia lightobject | 2008

These Gardens

These Gardens . . . A woman is walking on the area of the well known fabric factury De Ploeg designed by Gerrit Rieveld surrounded by the gardens designed by Mien Ruys, the first female landscape designer in The Netherlands. She

4th Commitment | Karin van Pinxteren

Commitments

a project about mankind, mass and ether small editions of laquer and silkscreen on wood 2001 – 2004 registration photography by Peter Cox . . . . . . . . . .

4th Commitment | Karin van Pinxteren

Commitments

a project about mankind, mass and ether small editions of laquer and silkscreen on wood 2001 – 2004 registration photography by Peter Cox . . . . . . . . . .