The triptych is a composition I've used several times. The combination of flat coloured areas and the depth of the landscape interests me. In the "Winter Forest" the flat blue on the sides becomes the air in the landscape. This stresses the different roles the paint can play.

Winter Forest

The paintings showing the buttercups area reprises of the "Red Forest". The basic concept is the same: A landscape flanked by red fields. In all paintings the red side panels seem to be closer to the viewer. This way the landscape gets more depth. The buttercups in the second painting connect the three panels. Within the sidepanels there's no depth, but in the central panel the flowers seem to float in front of the landscape. This behaviour of the buttercups stresses the difference in depth between the panels. In the third painting the red trees create another connection between the different layers. The blue painting connects the Winterforest with the Buttercup paintings. But at the same time it turns the whole concept upside down.

Red Forest

Buttercups with Landscape II

Red Forest with buttercups

Forest with blue flowers IV

In the image of the city I put different points of view next to each other. Not just any view; On the two sides I created two views of the same building. In these, almost mirrored, views you look downwards. In the middle part you look upwards. The trees and the number 5 painted over the prints create a certain rest within the whole image. But the triptych does not necessarily have to be a physical triptych. The last image consists of just one computerprint containing the same ideas as the others. But in a more liberated way; There are no distinct edges.

Charles Demuth Visits Rozendaal City

Forest with blue flowers II