Large modern paintings for sale: abstract, colorful art by the Dutch painter artist-duo 'BenFo'
Our large and colorful abstract paintings we started to make together in 2007 under the name 'BenFo'. 'We' are: BEN Vollers and FOns Heijnsbroek, living and working in Amsterdam, Holland. Since four years we do paint together: same spot, same moment, and we are painting on the same canvas. We made so 40 large paintings till now. that'' how Benfo during these years has grown out to a 'third independent artist' on his own. He doens't live fysically, he doesn't eat or drink, he has two heads and four arms, and... he paints, because there are his paintings to see. They are the only track of his existence. After the painting session has done, there is just the two of us: Ben & Fons. So Benfo has become mythical, and we brought him to life without being consciouss of this strange adeventure.
What just started as a one-stand afternoon-performance grew out into a rather unusual but intense dialogue-in-paint between us. We already knew each other for 15 years very well; discussed our personal art frequently and we had many expositions together since then. But painting together is another kind of thing; it is a very unusual and strange thing to fuse two individual forces and pretend to make so a piece of art which stands. Yet we started this adventure and during 2007-2009 we painted 30 free abstract large paintings together, meanwhile developing a lot of mutual confidence and freedom which grew during our common painting sessions. Each Benfo-painting can not be reduced to the stilistich characters or handwrinting of Ben or Fons individually. There has become a definite integration of us two.
Individually in our own art we make both abstract paintings in an expressive way on our own, and we both like to use our spontaneous visual impulses taking shape into the painting. This is the basic ground in our cooperation. We both love abstract expressionistic painting and discuss a lot the work of former painters who gave shape to this fascinating area of painting. We also share our love for the city Amsterdam, the old city, as well as the modern visual dynamic. And perhaps it is not by chance that we both love strongly free jazz: it is the music which is also created spontaneously in improvisation, so we recognize ourselves in the jazz improvisation, partly.
We want to incorporate in our art the unknown, the not preconceived, the not predictable. There lies the significance of working together by jamming in paint; one is unpredictable for the second, during the common painting-act. In a mutual sense one means the unknown for the other. Every moment in the painting process the development of the painting is uncertain because of this ‘other one’, this 'not-me', who is allowed to change the whole painting, if he ‘sees’ it necessary. We accept that we need the other so strongly to disturb ourself, to be able to make something New and unexpected. Sowe are dependent on each other, where abstract paintings' body is a language-in-images; that's how we want to communicate: to ask for or to define, to make statements or withdraw them, to argue, to destroy or to affirm. The so developed image is just getting a definite visible face when we both on a certain moment agree+ the painting is finished.
Interview with Benfo: on modern, abstract fusion painting
* There is a great similarity between you two painting together and jam sessions in Jazz. Is that what you are doing when you paint together- spontaneous jazz in paint?
What we do is improvise on one canvas: not particularly on an existing theme, and not one at a time, but together, on the spot, we continuously react to one another with brush and paint. We do not have a concept beforehand, no theme; we start totally blanco. But, we do have one another’s input to react to. For instance, Ben makes a line and Fons takes it further, or puts down another line or changes the colour etc. Apparently we understand each other’s way of working. Jam sessions in Jazz are very much here and now, reacting on the spot, the question, the answer; that’s very similar to what we do with paint. One starts an idea and the other can react.
* Jazz musicians often have a standard as the basis for a jam session, what about you two?
We’ve got all sorts of stuff in our heads, amongst other things the art of painting and the images of that. In that way we are also similar to Jazz musicians jamming. They use previous jazz. They improvise on an already existing, well known number, a standard, that every well versed jazz musician knows. In the same way we are familiar with abstract expressionism, but also with painting expressively and landscapes, we write and talk about the art of painting without turning it into a concept!!! What are our standards? Well, not only the famous toppers within abstract expressionism. But we have them in mind. But also the city, the light, Van Gogh, Soutine, Ruysdael, Corot, Guston etc.
* What do you have in common in large painting?
Something we have in common in our individual painting is that neither of us make a preliminary sketch. We both paint directly onto canvas/paper and react to that whilst painting. When we work together as Benfo, we offer one another images that the other can react to in an associative way. We both experience that this way things happen on canvas that we would never have made individually. The other is necessary in order to extract yourself from individual shortcomings in your own imagery. It can only be done in acrylic paint, a paint that is direct and dries quickly, so can be painted over easily.
* What aspects are of great importance in the process of painting together?
Apart from the spontaneity and the interaction to one another, there is the aspect of consciously constructing and destructing and consideration/thought. Considering whether the painting will make it, whether it will meet the promise of possibilities or intentions. At that moment we both feel that something is possible, that the painting could turn out well, but we’re not there yet! It’s the moment the painting tells us something and, it’s up to us both to understand. The painting has it’s own life, it has come to life through us and now it demands that we do this or that. Often, we have to let it go for a bit – distance ourselves in order to recognize the question. We both know there is a moment when we have to paint carefully, with consideration. The phase of associative painting, wildly, is over - which is by the way just as important. Our painting is a construction, in the sense that there must be cohesion and the various parts must work towards a whole. A structure, let’s say architecture, balance, contrast. In between all that is our freedom; but the final painting must be more than that. Otherwise it’s a failure.
* What does BEN of BenFo do that FOns would never do?
Ben puts down areas/space, almost automatically. Fons nearly always starts with a construction in lines. Ben paints his spaces/areas with strokes, mainly in white or black, with further strokes so they don’t cover the canvas completely; his lines are often zigzag. Fons’ lines are often flowing and more organic. He often puts coloured layers over something already present, so the colour of that particular area is changed. Fons uses the colours yellow/green/violet/purple more often and Ben more often uses black/sienna but also yellow, dark blue and often lots and lots of red. But all that was six months ago and is probably old hat. In that respect we consume one another!
* What about trust?
Painting our large Benfo paintings can only be done because there is mutual trust. Both in the ability in the art of painting as in the judgement. We also know that the ‘one’ is always trying to paint out the other, or trying to dominate in some way. There is a dynamic equality of input. There is also the trust that when ‘one’ reaches an impasse he can let the ‘other’ carry on to keep the process moving, to pull us both our of the impasse.
There is also mutual trust that the ‘other’ watches and continues to work together and make keen judgments. Of course we’ve know one another’s individual work for years – which gives us a good basis.
* What are your criteria for a painting to be a success or not?
We each have the conviction that a painting should be more than pleasing or nicely painted. We both see that we want to go further. There is no embarrassment between us when trying out something unusual; we can put down something impulsively without worrying about what the other thinks of it. There has to be some risk, otherwise the painting would be a failure for us anyway.
* What is your position in present day abstract painting?
A great deal of what we see around us makes us think that abstract painting is too slick, with too much emphasis on a ‘pleasing’ abstract painting. We are on the wilder side of abstract painting. It seems that we think that an interesting painting can’t be slick. As a viewer you have to make an effort to get into the painting, plough your way through. On the other hand, we offer a painting that one can actually get into with one’s eyes; we are offering a serious visual image. A slick painting excludes; there is no opening, no entrance. We want a painting to have its own ‘inside’. That’s what we mean by a painting being finished; there must be an ‘inside’ apparent in the painting; the painting has the right to existence because it gives visual form to that ‘inside’.
* What, from life itself, influences you both?
We are both passionate city people. We see the modern phenomena of the city; adverts, light reflections, transparency; but also the underground (metro) building, modern building constructions, people packed together. We don’t live in a world city, Amsterdam is small and has an old city centre with an old structure, where we both live. So, Amsterdam has both old and modern, the city changes through different time layers. That fact fascinates us both, we feel our connection through that.
Jean Homacher, 2009