Her de Vries

In an early stage, Her de Vries was fascinated by the avant-garde movement. An important moment was his discovery in the late fifties of surrealism, as he meets the famous Dutch surrealistic painter J.H. Moesman and Willem Wagenaar. In 1959 Her De Vries raised a surrealistic research-office, called ‘Bureau de Recherche Surréalistes en Hollande’, with which he became the central figure and spokesman of the Dutch surrealistic group. Besides this he collected books which grew into an immense library on surrealism and building up a worldwide network in surrealistic writers and artists, he introduced in 1961 the most important Dutch painters of surrealism in Paris to André Breton. This ment the international breakthrough for Dutch surrealism. In 1964, Her de Vries, together with Laurens Vancrevel, gave rise to the periodical called ‘Brumes Blondes’, which exist until today. After his research to work of Marchel Duchamp, Leautréamont and André Breton, De Vries has written many publications. What remained unknown at the public is the oeuvre of boxes and objets, which De Vries has made from the late fifties. Some of these boxes can be found in foreign collections in Portugal, Chili, USA and in museum collections in Canada and Brazil. The almost complete oeuvre of boxes and objets by De Vries is shown during the summer exhibition at Galerie Krans and is to a large extent for sale. This remarkable and beautiful work is accompanied by a monograph on De Vries’ boxes and objets, in which almost the entire oeuvre is pictured (see button ‘publications’)

Vincent Krans

Vincent Krans is working from the early eighties as an artist Working in a state of abanding the ratio, although in a steering process, pieces come to daylight ‘automatically’. As a result of this, the work has nothing to do with a considered world in the common way, where daily scene, pictures of a mythological or religious identity can be find. Any comparement with magic-realism or any other realism has no viability.

The mostly wealthy forms in Krans’ work has its origin in the thought that in the richness of nature, created forms as squares, triangles and circles, don’t exist. In another way it is said that he “never met a rectangular woman”. As a natural concequence, often the work can be seen with an erotical layer, directly visible or in a symbolic appearence.

There is work realized in oilpainting, gouache, bronze, objets and chiseled framework as sculpture.