Forms, colors and the light from this beach scene have been transformed into an abstract series. This was done by moving selected forms around, and varying them in size and color tone in order to find a balance that evolved into a series of four paintings. The series can be seen as a whole, but each panel can also be displayed as a stand-alone. As the title suggests, it can be compared to a musical composition, where the composer also works with components, tone color, contrasts, loud, or soft, rhythm, balance, etc. to create a melody, to evoke emotions.
The silver white light you find in Beach XX, 2002 – the so called “Dutch Light” – is unique to the Dutch coastal areas and the lake and river districts. It comes from the sunlight being filtered by the clouds and reflected off the water. This characteristic light has inspired painters for generations. The works of Dutch artists from the so-called “Hague School” (late 19th Century, early 20th Century), such as Weissenbruch and Mauve, are good examples of this. “Dutch Light” also inspired the Dutch painter Mondrian. In his compositions of dunes he combined light with the search for abstraction. One of the biggest compliments I could receive came when this abstract series was purchased by a collector who was born and raised on the Dutch island Texel. He recognized the unique Dutch colors and light in these works.
What you also might notice is that there are no people to be seen in Beach XX. They are of course present indirectly, suggested by the structures of the beach-huts. The beach is still, with no movement taking place. Actually, this scene was also conceived by zooming in, this time on a painting from 1996, Beach IV (see picture below) where there is activity to be seen.