Pilot, 2019
P////AKT, Amsterdam, NL, installation view

Pilot, 2019
P////AKT, Amsterdam, NL, installation view

Pilot, 2019
P////AKT, Amsterdam, NL, installation view

Pilot, 2019
P////AKT, Amsterdam, NL, installation view

Coupe, 2019
photoprint, spray-paint, filler on dibond
160 x 120 cm

Pilot, 2019
P////AKT, Amsterdam, NL
installation view

tegenboschvanvreden, Art Rotterdam 2019
Rotterdam, NL, installation view

Firm, 2018
enamel paint, wall paint, permanent marker on wood
155 x 186 cm

ESTA, 2018
aluminum profile, enamel paint, wall paint, filler, sealant, permanent marker on wood
54 x 244 cm

Objects in rear view mirror are closer than they appear, 2018
threaded rod, lacquer, spray-paint, putty, steel, plastic foil on wooden panel
163 x 298 cm

The one who dies with the most toys, 2018
enamel paint, oil paint, filler on dibond panel
160 x 362 cm

Polish, 2017
filler, wall paint, enamel paint, spray-paint on wooden panel
189 x 216 cm

Offspring 2018: Good Morning Midnight
De Ateliers, Amsterdam, NL, installation view

Tuesday IV, 2017
enamel paint on wood
165 x 150 cm

Bomber, 2017
enamel paint, spray-paint, wall paint on wood
165 x 150 cm

Offspring 2018: Good Morning Midnight
De Ateliers, Amsterdam, NL, installation view

Lawfirm, 2018
wall paint and putty on wood, aluminum frame
141 x 240 cm

Offspring 2018: Good Morning Midnight
De Ateliers, Amsterdam, NL, installation view

69, 2017
wood filler, spray-paint, permanent marker on wooden panel
200 x 225 cm

Great Neck, New York, 2018
wood filler, acrylic paint, spray-paint on wooden panel
200 x 225 cm

Gass, 2017
wood filler, spray-paint on wooden panel
200 x 225 cm

Offspring 2018: Good Morning Midnight
De Ateliers, Amsterdam, NL, installation view

Boys, 2017
letterboxes, acrylic paint, enamel paint on wood
136 x 320 cm

MIA (Missing In Action), 2016
enamel paint, spray-paint on wooden panel
154 x 122 cm

biography

Ricardo van Eyk considers himself a painter. His work arises from an amazement with regard to the urban environment and the way in which the city functions as a ‘support’ bearing the traces of human presence, the lapsing of time and signs of decay. Images from his surroundings that he finds meaningful are isolated and used within his own work in order to discover the logic of those images. Van Eyk works on the basis of wooden constructions: boards that are placed against each other, the saw-cut becoming a visual element, while paint is applied and sanded away and applied again. Found objects, as well as the use of everyday household materials, underscore his playful way of working. 

Dominic van den Boogerd on the work of Ricardo van Eyk in his publication Great Temptations. The irresistible art of painting: “Over time, the choice of a wooden carrier turned out not to be incidental, but structural. The drill holes that casually appeared on the screen, sealed with filler, gradually became a recurring part of the image repertoire. The cuts were gradually given a role in the lines of the composition. Scraping off the paint initially started out of dissatisfaction with the painted surface and changed from destructive gesture to constructive creation. In this way, his visual language was slowly but surely formed. A characteristic of this visual language is that actions that serve to prepare a painting have themselves become a form of painting. According to Van Eyk, painting is a matter of sawing, scraping, drilling, mounting, screwing, filling, sanding, painting, spraying, scraping.”

Ricardo van Eyk was born in 1993 in Utrecht (NL). He graduated in 2016 from the Utrecht School of the Arts, HKU. In 2017 and 2018 he was a resident at the Ateliers in Amsterdam. Van Eyk’s work was part of various group exhibitions, including in the Dordrechts Museum. Dordrecht (2018, NL); Billytown, The Hague (2018, NL); Nest, The Hague (2018, NL); the Vishal, Haarlem (2018, NL); tegenboschvanvreden, Amsterdam (2018, NL) and at Art Rotterdam (2018, NL). In 2018 he also had a solo presentation in P///////AKT, Amsterdam (NL). Van Eyk was nominated for the Royal Painting Prize (2018), and won the Buning Brongers Prize, also in 2018.

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gallery exhibitions
March 24 - April 21, 2018
Group