Exposities
Magie en Surrealisme
HulstArt
18 september t/m 26 oktober 2025
Hans Ensink op Kemna, Peter van Loon, Mariska Mallee, Anne-Tjerk Mante, Glenn Priester, Walter Rast, Christiaan de Roo
18 september t/m 26 oktober 2025
Hans Ensink op Kemna, Peter van Loon, Mariska Mallee, Anne-Tjerk Mante, Glenn Priester, Walter Rast, Christiaan de Roo
Affordable Art Fair Amsterdam
Stand No: A11 Brauckmann Art Gallery
8 - 12 Oktober 2025
Artist list: Sophie Brauckmann, Walter Rast and Frank Boogaard, Teun Anders and Monique van Laake
8 - 12 Oktober 2025
Artist list: Sophie Brauckmann, Walter Rast and Frank Boogaard, Teun Anders and Monique van Laake
Magic
Klinkenberg Galleries - Pulchri Studio
8 maart - 30 maart 2025
8 maart - 30 maart 2025
Info
Walter Rast (1965, Royal Academy of Art, The Hague)
The use of materials plays an important role in all of Walter Rast’s work. He uses a range of techniques to apply sand, cement, pure pigments, metal and paper to his paintings, and give them a layered, lived-in appearance.
Walter’s latest work has a “robust” aspect, and is consistent in its restrained but beautiful and effective use of colour. In a quest for more purity, he has avoided all excesses of colour. What remains is the eloquence of the painting’s skin; that seemingly vulnerable skin that carries a message of fleetingness.
The contrast between the pieces of lead and flecks of gold reflects the duality in life, which is a recurring theme in Walter’s work. But these materials also symbolise the alchemistic human impulse to create gold.
The work is decorative in the most positive sense of the word. It seeks to create not only beauty but substance. The primal forms this inspires seem to draw the viewer intuitively into ancient tales, led by the artist’s use of all materials, forms, colours and text.
The use of materials plays an important role in all of Walter Rast’s work. He uses a range of techniques to apply sand, cement, pure pigments, metal and paper to his paintings, and give them a layered, lived-in appearance.
Walter’s latest work has a “robust” aspect, and is consistent in its restrained but beautiful and effective use of colour. In a quest for more purity, he has avoided all excesses of colour. What remains is the eloquence of the painting’s skin; that seemingly vulnerable skin that carries a message of fleetingness.
The contrast between the pieces of lead and flecks of gold reflects the duality in life, which is a recurring theme in Walter’s work. But these materials also symbolise the alchemistic human impulse to create gold.
The work is decorative in the most positive sense of the word. It seeks to create not only beauty but substance. The primal forms this inspires seem to draw the viewer intuitively into ancient tales, led by the artist’s use of all materials, forms, colours and text.