Christian Falsnaes
Søren Berner
Sasha Kurmaz
Veli & Amos
Michel Keppel
Matthijs Diederiks

“The first aerosol spray can patent was granted in Oslo in 1926 to Erik Rotheim, a Norwegian chemical engineer. In 1931 the patent rights were sold to a United States company for 100,000 Norwegian kroner.

In 1949, Edward Seymour added paint to the existing aerosol can technology at his wife’s suggestion. It was initially designed to demonstrate an aluminum paint he developed. Aerosol paint leaves a smooth, evenly coated surface, unlike many rolled or brushed paints. Standard sized cans are portable, inexpensive and easy to store.

Spray paint has had a major influence on the way suburban youth express their feelings. The spray can provides an individual with an object that has obtained a status equal to rebellion and heroism.
Although the rebellion has turned into objectification and become a commodity, the object itself remains untouched. The object speaks to us as if it wants to tell us; It’s okay. Don’t worry. Catch a glimpse of me while I rotate in eternity and try to embrace my rebellion like status. Don’t hate. Congratulate”.

Within his previous work de Meijer often referenced western heroism, comics and blockbuster movies. The Last two series were mainly based on the notion of balance between what’s morally accepted within todays western society and what we’ve been conditioned to believe is good and bad. Playing with these notions de Meijer creates visual narratives that not neccesarly provide the viewer with a straight forward answer, but rather create more confusion.
By doing so de Meijer provokes a gut feeling of slight mistrust and flirts with a nihilistic approach as part of the ongoing debate that he as an artist has with his surroundings he lives in.

The serie “Fake Smile” is based upon this same debate. Starting from portrait photography that de Meijer took from himself wearing a variety of masks and disguises he plays with the omni present topic of personality in a digital age. The portraits could be interpreted as avatars used in social media, the new digital world were people only tend to show a certain part of them self’s and by doing so create their own new kind of personality. Questions of how to interpret love, physical contact, attraction, violence and human interaction are the core of this new series of work.

The exhibition is a collaborative project between The Wayward Gallery, based in London and Kind Regards, based in Amsterdam.  The collaboration feels as a logical step within the growth process of Kind Regards. In the past we focused on our Amsterdam audience to provide them with a good and strong selection of artists. During this process we crossed paths with The Wayward Gallery and instantly realised there were many complimentary aspects between the two organisations.

Residing in Amsterdam where he works in his studio behind the Nieuwmarkt, De Meijer focuses on notions of balance.
Within his previous work he often referenced western heroism, comics and blockbuster movies.
In his new series of work, the clear borders and outlines within De Meijers recurring themes become blurred and take upon a different kind of narrative.

Please join us for a drink during the opening on November 19th from 17:00 till 22:00.

Wide View Studio
Bartholomeus Diazstraat 1
Amsterdam

With Kind Regards

His website has a vast collection of photos and accompanying text on an extensive range of issues and subjects, which provides some fascinating insight. Well worth checking out here

FUZI UVTPK / 2SHY Collaboration Part1
Red and Black silkscreen print on Canson 200g white paper
50x 65 cm
Limited edition of 30
Numbered and signed by the authors

Available here!

Delta in Enschede, Holland.

via the always on point JSBJ