Testimonials

Jeroen Berkhout, dutch writer, about TS:
….”When confronted with the work of Tineke Storteboom as a viewer, you do not stand before it or outside it; there is no distance between object and subject. Instead, the work invites you to step inside—or rather, it invites itself into your imagination, to function as a landscape within your own mind. It becomes a backdrop against which your inner self, yours and mine, emerges as the hero or heroine of a timeless story, visually narrated to us with patience and care” …..

G. Schwarz, American Art historian, about TS:
…”Back in the 20th century, when you spoke to Dutch artists about their work, they made a division between commissions and commercial work on the one hand and what they called ‘autonomous work’ on the other. That concept, I believe, has not made it into our new century. In his entomology paintings made of mounted butterfly parts, Hirst joins natural beauty and that of medieval stained glass; Koons, in Metallic Venus, exploits human and material beauty and that of ancient sculpture. They have abandonethe brutal shock treatments they administered to us in the 20th century, the cadavers and the pornography. Both of them work with industrial workshops; they have no need to excert themselves in handwork. That is not true of Tineke Storteboom, the Raphael of the Brouwersgracht. She does everything herself. But her art too shares its essence with other realms and powers. In other words, none of these artists would call their work autonomous. Their art takes its place in a flow from ancient China, Greece and Europe, through 20th-century modernism and post-modernism, into a moment that is more than a moment, a sharing that dissolves the selfish notion of autonomy”….

Rene Ridgway, American writer and artist about TS:
…”Like the stills of a film these images are captured upon the canvas with the movements of the bull. In turn, the matadors respect and ritualize the powerful nature of the beast through the gesture of salaam, rhythmically bowing in a row.The context of her work may include the spiritual, but it is not dictated by it. While fervently trying to capture thoughts with paint, the zeitgeist is reflected through the manner in which the paintings are painted. Painting as meditation and meditation being the cleaning out of the mind, getting rid of the past, creating more room for quality thoughts. As the impressions in our mind are themselves layered, so are her films of paint. Stortebooms’ lyrical paintings are a multifarious vocabulary of images which converge on the canvas”….


Dmitri Fenton about TS:
….“There is an emotional charge, there is a message, there are feelings, there is a true experience of personal changes of a high order”….


Hester Jenkins:
Tineke Storteboom maakt looplijnen waarmee zij onderzoek doet naar historische paden die leiden van Nederland naar Frankrijk, van het Westen naar het Oosten, van hart naar hand en van donker naar licht. Haar ‘Inner Landscapes’, abstracte landschappen, representeren verstilling, ruimte en innerlijke kracht. Ze zoekt naar repeterende patronen en werkt in series. De ‘Inner Landscapes’ worden geflankeerd door reeksen waarin zij afrekent met demonen. In de tegenstellingen tussen zwart en wit, rust en onrust, kennis en onwetendheid mengt zij tegenpolen tot een nieuwe serie: ‘De Weg van Donker naar Licht’.
Haar nieuwe werk is enigszins rauw. Aziatische invloeden wisselen af met Francis Bacon-achtige mensfiguren.
De abstracte landschappen manifesteren haar memoires.