Interview
Herman Smorenburg
Herman was born in Alkmaar, in the Netherlands.
His interest in art started at a very early age. After finishing his art education in Amsterdam, Herman spent some time in a Hindu monastery in England to explore the inner life and find time for stillness and meditation.
Over the years, Herman has developed a strictly personal symbolic language, interwoven with tranquil landscapes, the sea, deserted beaches, mountains, mysterious islands, the moon and the universe. His mystical worlds often contain solitary female characters and abandoned ruins. This suggests a certain timelessness.
In recent years, however, he has been looking for more simplicity in his compositions. The use of color has now also become more subtle and sober. The work that Herman has made since 2000 is characterized by stillness and loneliness. In some paintings, this immediately catches the eye.
What is your background and how did you start your journey in the art world?
“I grew up in a family with two brothers and a sister. At a young age, I was already fascinated by dreams and fantasies. This tendency expressed itself through making little sketches and drawings of imaginary figures and dreamlike landscapes. Later, being a teenager, my encounter with the world evoked by the surrealists, symbolists and 19th century romantic dreamers, would turn out to be a lifelong inspiration, and created in me the strong urge to dedicate my life to art.
I spent some time in a Hindu monastery — an experience that would prove to be of great value for my inner growth and for the development of my art as well.”
What inspires you most?
“I derive my inspiration mainly from nature. Not so much nature as an objective reality outside, but more nature in its inner dimensions, its soul and therefore the moods it evokes in the spirit of man. Indeed, a strong parallel with the romantic painters of the 19th century.
I love the magic light displays on trees, clouds, animals and other elements of nature. But I also love the enigmatic shadows it creates in its absence! The beauty and mystery of the human female figure is important as the focus point and center of my imaginative worlds. Most important, perhaps, is my fascination for stillness — the silence in the image of the artwork which is hopefully able to penetrate the spirit of the beholder, and make them share in this mystery and gift art can give.”
“The worth of an artwork is primarily determined by its quality and strength to affect the inner world of the beholder, rather than the qualities or aesthetic characteristics of the work itself.”
What themes do you pursue? Is there an underlying message in your work?
“The themes in my work are based on my personal mythology. There are visionary landscapes, sometimes with architectural structures from Antiquity or a long gone era. Mostly female figures, but also animals inhibit the world of my dreams. These figures must function almost as mediators between heaven and earth, living in a timeless dimension. The emphasis on solitude and silence is essential here. It is often the spirit and meaning of the painting. I want to invite the viewer to come along and enjoy the serenity of the scene.
If there is some message in my work, it is to shine some light on the deepest stirrings and intuitions of man in relationship to his existence. With this, I give my work direction and sense. In this respect, I feel an affinity with 19th century romanticism and symbolism, but also with contemporary movements such as Fantastic and Visionary realism. I like to see my paintings as more or less archetypal images, unhooked from the limitations of age and culture. They invite the onlooker to experience the psychic power with which the image is charged. This interactive effect of the power of imagination is the deepest motivation for my being an artist.”
How would you describe your work?
“There is a definite realism in my paintings, but when trying to become more specific, the trouble starts. My realism has been described as fantastic, magical or symbolic. But sometimes, I feel that 'poetic' would do more justice to the subtler elements and levels of my imagination.”
Which artists influence you most?
“Perhaps the most important influence in my work has been the art of the Pre Raphaelites, such as Edward Burne-Jones, Millais, Rossetti and John William Waterhouse. Visiting the great exhibition in the Tate Gallery in London was all-important for the direction in which my art would develop. Also, the influence of Salvador Dali and other surrealists. Dutch magical realists Carel Willink and Johfra have also been crucial, especially in my younger years.”
What is your creative process like?
“I do not rush when starting a new painting. First, I research my collection of self-made photographs and online picture files. Once I’ve found interesting combinations, an idea is formed. In order to work out this idea, I make a preparatory drawing with charcoal and pencil. This is done on a background of rubbed out charcoal, so that I can work quickly with pencil and putty rubber to experiment with composition, light and dark contrasts, depth and atmosphere. The emotions, which I will later integrate in my painting, appear dynamically on the paper, and thus the original idea is ‘frozen’. This is an exciting phase in the process.
Then I do a detailed monochrome underpainting— the grisaille— paying attention to form and composition. Next, various transparent oil color layers are applied. This is time consuming because each layer has to dry well before another can be applied. The shadows are kept as transparent and open as possible, while the lighter areas are mostly applied in more opaque layers. This creates depth in the coloring, and beautiful contrasts of light and dark. Also, it enhances the display of very fine detail and astounding substance expression. The method is based on the Renaissance techniques of the 14th and 15th century. Modern materials make a contemporary interpretation possible.”
What is an artist’s role in society and how do you see that evolving?
“The most meaningful role for the artist is to make the invisible visible. Because of their sensitivity for the more subtle and meaningful aspects of reality, there is the possibility to translate these deeper intuitions into image, music or poetry, and in doing so, function as a channel to inspire or awaken society.
Perhaps today, more than ever, there is this need to broaden and deepen man's awareness of inner potential, and reevaluate his relation with nature and fellow human beings. Art, in a humble way, can help and play a role in making this happen.”
Have you had any noteworthy exhibitions you'd like to share?
“These are a few of the exhibitions I have had:
2018:
‘Unlimited Imagination’ Fantastic Realism by Herman Smorenburg and Rene Zwaga- Slot Zeist, Netherlands.
'Dreamscapes 3' International exhibition Fantastic Realism- Loods 6 Amsterdam, Netherlands.
2017:
'Dreamscapes edition6' International Fantastic Realism - Traun, Austria.
2014:
'Fantasmus-The magic 7' Lindholm Slot- Skibby, Denmark.
2010:
'Dreamscapes 4' International Contemporary Imaginary Realism- Loods 6 Amsterdam, Netherlands.”
Website: www.hermansmorenburg.com
Instagram: @hermansmorenburg.art
