L’Abbaye. 2019

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.

House caught in a web. 2018

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 ?

One, two, three, four cyclists. 2016

1234cyclists. J.Harms; - Copie

One, two, three, four cyclists. 2016. J.Harms. 29x39cm. Acrylic on paper.

I came across a picture the other day, in one of my old memory cards. Four cyclists leaving Kilmartin, a Highland stop on a tour I took 2 years ago. It was at the time of the Referundum in Scotland, which explains the ‘yes’panel on the lamp post. The bright color jackets caught my eye and the process in which they departed. One after the other.

Le labyrinthe. 2016

the labyrinth. J.Harms. - Copie

Le labyrinthe. 2016. J.Harms. 45x60cm. Acrylic on paper.

I seldom use maps when wandering around cities. Needless to say I have often lost myself. Around the castle, two hills stand out in Edinburgh, after climbing Arthur’s seat, I decided to go from there to Calton hill. So, keeping that hill in sight, I walked and walked, and found a small path going up. On my left, over the roofs, a labyrinth of streets.

Le pédalo blanc. 2016

Le pédalo blanc. 2016. J.Harms. 29x39cm. Acrylic on paper.

On a fine Sunday afternoon, My sister, a friend, and I drove to Pierrefonds with paddleboats in mind. The majestic castle of Pierrefonds, overlooks a beautiful lake. For 4.5 euros one can rent a paddleboat and go for a ride around the lake. There, we spotted herons a plenty, fish wriggling under the yellow water lillies, and ducks of all kinds and colors happily chasing eachother.

Le lac laiteux. The 6th Continent. 9/365. 2016

le lac laiteux. J.Harms - Copie

Le Lac Laiteux. The 6th Continent 9/365. 2016. J.Harms. 10x15cm. Acrylic on paper.

At one point the wanderer needs to come down those cloudy heights of his. It’s the dawn of a new day over the milky lake.

Vue depuis La Pierre Sorcière n°1 et 2. 2016

Vue depuis la Pierre Sorcière. n°1 et 2. Impression en forêt d’Ermenonville. 2016. J.Harms. 17×45,5cm. Acrylic on paper.

The “witch’s rock” is a place I often walk to in this forest. It overlooks a group of very high parasol pines. From that spot one can see the tower of the castle of Montépilloy towards the East, and the sandy hills of the famous theme park “la Mer de sable” in the North. Those of you that have been following my work for some time, know that painting nature is not what I feel most comfortable with, ergo the word”impression” in the title.

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