Born in Amersfoort (The Netherlands), May 27, 1950 Self-taught, working as a visual artist all my life. Married to H. van den Broek-Hanskamp, 2 sons and 2 daughters, 4 grandchildren.
Bright colours are remarkable for Herman’s work, however he is more a drawer then he is a painter. Powerful lining and square shapes are a primary force in his work, not only for his abstract work but also for his figurative pieces. A landscape, a bull and a village all exist out of lines and squares. Often these lines are black painted, as you can see in almost all of his Spanish work. But tape can also be used to create lines. In these lines you can see Herman’s unique signature. As soon as Herman gets in touch with other people and buildings his soul changes. In this way he is able to create art which adjust naturally to the environment it will be placed in. Herman combines new styles and materials and creates new shapes. This way of working is similar to the way a chef works, for a new dish one is always looking for new surprising combinations of ingredients. Herman’s studio is like the kitchen for a chef.
Herman’s work has many similarities with Picasso’s figurative work, but also with Tapies abstract elements. Picasso was also more a drawer then he was a painter, he was familiar with different styles. Herman is also very interested in the pre-Columbian art. Knowing this sun-figure mostly exist out of squares and lines, Herman’s interest in this figure is no surprise.”
Varied Styles and techniques
“Flowing epoxy resin brings me in a continuously conflict: will I let it flow or shall I intervene?” Figurative, abstract, bright and soft colouring, extravert and introvert. These contrasts are characteristic for my work. The oil paintings of Spanish villages in shimmering hillock landscapes, portraits and many assignments are examples of my figurative work. Other items of my work are more abstract, with tight patterns of lines, areas and colours. In my extraverted works I use abundant colours, with a preference of bright red, lemon yellow and sky-blue. This obviously shows the emotions of an artist. Yet in other works I prefer to use earthly colours: white, brown, black. Especially the Creek Island Chios called on this introvert mood.
Also in my choice of materials, I don’t limit myself. Everything I see and things that inspire me will be processed in my work. Beside the traditional combination of oil on linen, I sometimes use acrylic paint, epoxy resin, stones and tar. The backgrounds are also divers, carpets covered in epoxy resin are no exception. Marvellous patterns and colours arise by heating tar or epoxy resin and by letting them flow. I don’t shun the digital world either. In the past few years computers, printers and copy machines have conquered a fixed place in my workshop.