Le Massacre des Innocents, 2016, h 205 cm x w 122 cm (h 80.8 in x w 48.1 in), collage of adhesive film on drawing polyester on lightbox. A media image inspired me to create two art works. In 2016, I made ‘Le Massacre des Innocents’ (The Massacre of the Innocents). It is a recurring theme in art
Knives and scissors are his brushes. He compiles his own images from the folders and scrapbooks full of remarkable photos from the newspaper, which we quickly take for granted. This is done sketching, in pencil, then cutting and pasting until he likes it. Then he enlarges the sketch manually and ‘
The Laments of an Icarusis the title of a solo exhibition at Kenndey Van der Laan (lawyers) gallery with new artworks by Patrick Koster. It is not often that you come across an artist who has been working in his studio for about twenty years. He has hardly ever shown that work before. More often it
At the exhibition at Fontana gallery, Patrick Koster shows works from the Doppelgänger series. Doppelgänger 1 and 2 from a series of 3 both from 2014. They are collage artworks on a lightbox. The art works are made in the technique adhesive film on drawing polyester on light box. The works have th
Patrick Koster's artworks were on display at the KunstRai, Art Amsterdam in a solo booth at Fontana Gallery at this 33rd edition of the well-known international art fair for contemporary autonomous art in the Netherlands.
Artworks Patrick Koster on view at Art The Hague 2017 at the booth of Gallery Fontana from Wednesday 4 to Sunday 8 October 2017 at Fokker terminal, The Hague, The Netherlands. One of the works that can be seen at Art The Hague is Hanna and Evy in Delft, 1944 I, series # 2, made in 2015. The artwork
Twenty-nine years ago, as students at the Rietveld Academy, they came to live in this district. After nine years, urban renewal forced them to leave. Their earlier Bijlmer habitat, was former subject matter for their artistic work. It had a significant influence on their personal and artistic develo
Bijlmer nostalgia is complicated, as appeared last Saturday at the opening of the exhibition Ode to the Bijlmer. The dingy photos and videos that Patrick Koster (1967) and Thérèse Zoekde (1972) made in the Bijlmermeer in the years 1989-1997 confirm the image of a scary neighborhood where danger lu