Pauline van de Ven graduated in Economics at Amsterdam University. In 2000, she gave up her work as a journalist to dedicate herself to writing and painting. She worked in water colour, linocut and etching ground on glass before starting to paint digitally on a Palm handcomputer in 2004. She participated in expositions in Budapest, Milan, New York and Florence and exhibited solo
in Zwolle and Amsterdam. Her work is in many private collections and the Literary Museum (Letterkundig Museum) in The Hague.
In 2014 and 2015, she was awarded by the Museum of Computer Art (MOCA) in New York.She ... Read More
received a Lorenzo prize in digital art at the Florence Biennale in 2015. Through a ‘Survey of Digital Painting’ she hopes to promote the understanding and appreciation of digital painting. She paints on the iPad, switching between programs for raster and vector painting, such as Brushes and Inkpad.
"Certain experiences early in life gave me a
permanent sense of temporality and haste, a
source not only of discomfort, but also of intense
joy about things radiating freshness and liveliness.
I think I try to express that basic state of being.
But actually I don’t think at all when I paint,
perhaps that’s why I like it so much. It’s like
I did think a lot about the carrier, however.
Digital art on canvas looks terrible. You expect
the texture of the paint, but all you get is the
texture of the canvas. It feels fake. So I rather
use a carrier for photography (Xpozer).
Technically, I like to contrast the smooth, playful,
intentional properties of vector with the natural
softness, contingency, and broader emotional
palette of raster. I cherish the spontaneous process
and the polychrome of raster. And most of all, its
imperfection. ‘Everything of value is defenseless’,
said Lucebert. He might have added that it is also
imperfect. Imperfection, irregularity, disorder, a
human hand can do it, but a machine can't."
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