The recent work of Cathalijn Wouters shows an exciting evolution. Her new, monumental paintings demonstrate a new, rich technique. Wouters integrates the art of drawing and the art of painting but also applying the technique of assemblage or collage.

She consciously uses the structure and resilience of the linen canvas to give her lines, these for her oeuvre so representative use of the drawn lines, a new dimension. Her works show a rich dialogue with all kinds of central aspects of the art practice. For instance, in these works Wouters seems to pose a question about the function of the atelier, but she also explores the fascinating tensions between frontal objects and/or spacious use of forms and lines in an image. By rejecting the classical rules of perspective, Wouters creates her own sense of spaciousness, which seems to reach all the way to the unconscious. Remarkable is the use of the fresh, vital light blue and the royal, gentle yellow; these colours fortify the depth of the black. These paintings refer to artists and artworks, but like in a dream, Wouters seems to reflect visually on Art itself. The dynamics take place between the different forms we recognize, like references to Velazquez or Matisse or more purely conceptual forms like Plato’s chair form his theory of Ideas, and her own visual vocabulary. Her recent works testify to Wouters’ deep love for painting. The many details in these paintings all have their own reality but all together form a vibrant visual narrative in which every viewer can find his or her own significance.