The yellow window. 2019. J.Harms. Acrylic on Canvas 46x55cm
Another « window of Rye » and behind it, a glorious shade of yellow, it simply caught my eye, as well as the tree that looks as if it’s embracing or protecting this fragile source of light.
This house looks joyful and warm, even though it sits right outside of the cemetery.
Two point of views. Windows of Rye. 2019. J.Harms. Acrylic on canvas. 38×46 cm.
This is the second painting from the Windows of Rye serie. Earlier this year, a couple of weeks before the first Brexit-date was suppose to take place, I visited the medieval city of Rye in the South of England, not far from Hastings. At first, I was interested in painting the different layers of the city. I spent quite a lot of time taking pictures of the streets from all sorts of angles. It was on the third and last day of my visit that I realised that the windows had a story to tell.
Although they belong to the same building, two windows show opposite views. There is also a back way for those ready to jump over the wall.
Yearly self-portrait au carré. 2019. J.Harms.
Another year another portrait. This one is me sitting on my « carpet studio » looking at my reflexion in a mirror. At the back a glimpse of the window overlooking a cherry tree. My work as a decorative painter has been thriving, and sadly my paintings have been few and far between as a consequence. Three so far this year isn’t much. Yet there are so many things I need to paint.
La maison des amis de Jenny. 2019. J.Harms. Acrylic on canvas board. 28,5×22,5 cm. Commission.
A small painting depicting a house in Brittany, commissioned by my elder sister Jenny. Painting something I have never seen personally is not my favorite thing. However, I don’t think I made such a bad job out of it. I finished the painting after it was framed. The painting is signed on the top left side, right in the shadow.
L’Abbaye. 2019. J.Harms. Acrylic on paper. 48x63cm.
Early this year, my sister and I went to visit Royaumont Abbey. As is my habit in my work, I am constantly on the look out for a certain bouquet of lines in all things or places I see or go through. At Royaumont, what I thought was striking were the very tall trees bordering each side of the path leading to the Abbey. I especially liked their reflection in the water too, and the peaceful atmosphere.
Boat behind the window. 2019. J.Harms. Acrylic on paper. 48x63cm.
I recently (re)-visited Rye in Sussex. At first I thought about painting a couple streetscapes, Tudor style buildings and all, but for some reason my eye was more interested in the decorated windows of the old city. I usually let a couple months go by before revisiting my pictures, but with “B” day coming up, I feel a sense of foreboding in the air. This particular window with the boat, turns out to be more than that. A boat is a strong symbol of freedom, but this one is stuck behind a window…
House caught in a web. 2018. J.Harms. Acrylic on canvas. 38x46cm.
The more I dwell on my “American journey” the more I realise how the paintings resulting from my visit last May in the town of Beloit, where I used to spend summers of my childhood, are turning into little satires, with a whift of symbolism attached to them. I usually like to play along with the titles of my paintings. Many have double meanings, I believe it helps those looking at my art to see all the layers, but I usually stay clear of incorporating politics and morals into my work. I don’t wish to give lessons. However, it seems that the older I get, the more these “questions” seem to want to show up now and then. Sometimes, artists are like barometers of society’s health and well-being. Through their work, one will experience the emotional sounds of the moment. well, there you go. Can one of you spot the spider ?
