Renée Van Halm sees her subjects in terms of something else, meaning the generally overlooked fragmentary elements present in everyday images: furniture, shadows,vessels, and elements of architecture. Beginning with images pulled from mass media sources such as décor and fashion magazines, Van Halm replaces large portions of the image with smooth expanses of pure colour, borrowed from the delicate tones of origami paper. By using the existing proportional and compositional material given by the background material – straight lines, right angles, regular curves and parabolic curves – the artist is able to build subtle tensions between figuration and abstraction, thus disrupting the classic figure/ground, subject/object relationships.
Loaded with visual speculation, these paintings reflect on idiosyncracies of colour, textures of material and qualities of light found in the source materials, which are then translated through the very different material of paint pigment and the vocabulary of painted marks.
Sophie Brodovitch, 2013