Andre Van Der Kerkhoff

'Beware of Silence' editorial by Tamar Holman

Austrian born artist Andre van der Kerkhoff likes to refer to Franz Grillparzer when asked about the inspiration or geneses to his current range of works ‘Beware of Silence.’

The phrase that Andre quotes is ‘The road of modern culture leads from humanitarianism via nationalism to bestiality.’ Tough stuff; not for the fainthearted and neither is Andre’s new exhibition.

Paintings that depict stark images of the Twin Towers against a background of the American flag, or a phallus pinned to the church with hovering cherub, and carefully executed global brand icons presented in road sign satire are inevitably destined to provoke and outrage.

To say that the artist doesn’t care whether people find the works confrontational or shocking and distasteful is not true, he says. “My paintings aren’t the gospel; they are just images whose purpose isn’t to preach righteousness, but to spark a discussion between politically antipodean perspectives to the recent and past events in politics and society.”

‘Beware of Silence’ may have had its catalyst in the events of September 11, but it is crucial to make the point that this catastrophe was only a catalyst. Andre’s range of subject matter is both contemporary and historical and is borne of the man himself, his cultural heritage, his European political and social intensity and then the transition to the New World.

Trite as it seems, it’s imperative to look at the environment this artist has emerged from, to gain an appreciation of the man and his work. And trite as it also seems – this artist has an integrity and intensity, which we usually see only in youth and their zealous life-unsullied aspirations. He could be called naïve, but he wouldn’t care and would argue that if passion and holding true to belief is to be naïve, then his exhibition and its controversy has total vindication.

Andre is reclusive. There is little obvious drama or prima donna to the man. An Austrian, born in Graz in 1956 with a grandfather who served in the SS, Andre immigrated first to France in 1978. There he lived in Toulouse working as a graphic artist, set designer and began his fine art career.

In 1986 he immigrated to Australia. As with so many émigrés to the New World, Andre found himself forced to take a much more entrepreneurial approach to employment and after some interesting but short lived ventures, found success in creating bonsais.

He didn’t paint for nearly 10 years after arriving in Australia, resuming in 1995. His early exhibitions in Australia have strong influences from his graphic and set design days. There is a static, controlled, overly precise quality, an Austrian’ quality perhaps, but much more palatable to the general viewer though. This was his calm before the storm.

In the last two years, particularly the exhibition of 2001 titled ‘From Above and Below’ a wildness and discombobulating sense had well and truly its way from his heart to the canvass.

‘From Above and Below’ was dark, brooding, intense with disconcerting perspectives. Most viewers thought the works were complete abstracts and of a science fiction genre. A complete misread, although perhaps a little understandable. The title gave a clue to the subject matter – a series of curious landscapes with dreamlike curling tree stands. This exhibition is a significant precursor to the current series.

Interestingly, as Andre has developed the current series, a softening emerges. Not in the subject matter, which moves from September 11 to Racism to Banality of society and Global brand aggrandizement; the Jewish tragedy and sexual molestation within the churches, - but in treatment.

Colours become in some almost luminous with pastels, a new dexterity, lightness and paradoxical and allegorical approach emerges. The obvious and most contemporary subjects are the first paintings. Andre agrees that these were easier to execute, as the violence of the events demands an equally explosive and immediate response.

He works in mixed media, with a lot of oil stick and pastels. Andre’s works have always glistened with influence of his graphic design training, demonstrable in precision, lightness of texture, and perspective distortion.

‘Since September 11 my focus towards the arts as a professional vehicle to produce pretty petty pictures for petty pretty walls has changed into a wish to communicate with my audience a slightly different perspective to the media’s propagandized truth’ is how Andre summarizes his work and philosophy.

It’s a dangerous approach – a mid life enfant terrible at his best and worst? Fortunately for the artist and us, it works. The works are not only highly competent they are deeply allegorical, and cleverly executed.

Then there is the guilt of Andre and his familial ‘Culture Cringe’ of being an Austrian with a grandfather in the SS. Is this Andre’s own attempt at atonement for the collective sins of his fathers? He doesn’t argue the point and he goes further by laying claim to the rare altruism of intent.

The exhibition is titled ‘Beware of Silence’ but in fact, most of the paintings are filled with screaming words. Not immediately apparent and requiring close examination. The artist has extended this play of silence by linking the exhibition with thoughtful homilies between the works. Most of course are damning commentaries: ‘When Priests without fearing God’s Wrath abuse innocence for their earthly lust, Christianity lies naked of all divinity.’

The question left perhaps is this: ‘Beware of Silence’ a middle aged European’s personal rant against the evils and inexactitudes of life through his chosen artistic medium? A somewhat tired and 70’s Andy Warhol set up, if so. Or, is Andre van der Kerkhoff holding true to the precepts of the medieval and reformation heretics? Misguided, misunderstood, but brilliant and valid?