Changing perspectives in his still lifes, such as a bird’s-eye view or a frog’s perspective, make for large color fields that lend a specific charge and dynamic aspect to the compositions. In Still Life with Yellow Vase from 1994, for example, the vase almost fills the entire canvas. Kingma positions the flowers and the vase like pieces on a chessboard, letting them form a contrast with their hard and lifeless background. Kingma is not a painter of the spontaneous gesture, but rather looks for the right balance. The boundary between figurative and abstract is never a sharp, straight line for him. Nevertheless, reality is always his point of departure.
Kingma likes to experiment with light and color. His paintings are characterized by strong color accents. His work Still Life with Green Bottle I from 1994 is powerful and balanced. Kingma doesn’t see the colors on his canvas as separate from one another, but as a unified whole. Color and form reinforce each other in a subtle manner. The use of rapid brush strokes stands out. The still life is built up by means of broad brush strokes. Kingma applies several layers of paint, one after the other. The various layers of paint are applied so sparingly that in some places several layers are visible at once. This technique gives his paintings an interesting and very transparent structure. In Still Life with Pumpkin from 1994, this transparent structure of the paint can be seen quite clearly.
On behalf of ING Art Management, I want to congratulate Lieuwe Kingma with this beautifully illustrated catalogue.