In general, my goal is to combine the artistic craftsmanship of classical painting with the limitless possibilities of imagination in contemporary art. I strive to make a well-made aesthetic work of art by maintaining quality and using any technique that’s available to me. If I have anything to convey at all in my work the very least I can do is to paint it well. With this being said, and since the majority of the art world wants to categorise every artist, Neo-popart is as close as I can come to defining my style. It is not a retro-style. I’m not endeavouring to revive the sixties or copy any of the great giants of popart. No, I want to make contemporary, post-conceptual art. There is enough pretentious, cerebral, coolly calculated, analytical and de-constructive art out there already.

My intent is to bring back the emotions in art, even the most simple and sentimental ones. I don’t shy away from incorporating kitschy elements in order to make a point - love the idea of “camp” even if it’s “tongue in cheek” occasionally. I want to bring about emotions but not in an abstract way. All my work is 100% figurative. I’m not directly expressing my emotions on the canvas. I’m trying to create something that will evoke an emotion or response from the viewer. Those are two totally different concepts.

I do not consider my art as personal therapy – a medium to exorcise the “demons” in my head. My desire is to provoke positive emotions in the viewer by combining different elements, which aren’t necessarily related to each other in a rational manner. Combining the elements together should make one, hopefully intriguing, new image.

Also I’m not trying to tell a story through my work. My art isn’t narrative - it’s not prosaic, but perhaps more poetic. I attempt to provide the viewer with enough interesting elements to make up his own mind – if they so choose. This is not to say that my paintings are void of my own personal emotions or ideas. Far from it, but that is not the point; my ideas and emotions are incorporated within a work whether consciously or not. However, the viewer’s interpretation of the work is as valid as mine. I merely put it out there and hope it touches someone, without having to explain it.

There is only one way to see what I want to create and/or impart and that is to look at the paintings. If they don’t touch the observer in some way then I have failed. It is not my intent to tell the observer what to feel. I don’t want to persuade the viewer in some specific direction. I simply want to touch their heart and possibly stimulate their mind anyway I am able.

Jan Bollaert