Patrick Painter - Liz Craft  


  • RINUS VAN DE VELDE | Installation | September 22-October 27, 2012

  • Rinus Van de Velde, Berlin, September 2012: When I think of what Conrad has been doing since he disappeared, I imagine him to be some kind of enlightened vagabond, a zen buddhist of the street who has forever left behind the places and people he knows the best in order to live in what can only be defined as an absolute outside. He's floating anonymously and selflessly through a world without boundaries, sleeping on the street as if there are no safe insides anyway. But the weirdest thing is that, in my imagination, Conrad looks exactly like me. Which makes me think that, in my mind, he is actually living my fantasy life, that he is chasing a dream I am too scared to chase myself. I am dying to hear his stories when he returns.

    Charcoal on canvas, framed without glass
    98.425 x 75 inches (250 cm x 190 cm)

  • American artist William Crowder, New York, July 2012: When Conrad visited me in 2006, he passionately talked about Rinus Van de Velde over a few gin tonics, his favorite drink. 'Rinus doesn't get inspired,' he told me, 'he consciously and systematically looks for inspiration himself. Or for good images, as he likes to call them, whatever that means. When he walks the street, he fantasizes about other people's apartments. He also has a thing for corners, hedges, passageways, gates etcetera: anything that promises something just out of sight, something new. Sometimes he jumps over fences and walls at night, just to discover what he dowsn't know yet. And of course he got chased by dogs, farmers, the police more than once. My guess is that he secretly wants to be everywhere at the same time, that he litteraly desires to find himself in everything he sees. Or to put it differently: he wants to be all the names in the history of mankind. So whenever he sees a blind spot, he jumps blindly into it.' 'Strange', I answered. 'I harly ever saw him outside his studio or an opening, and I always thought him to be the opposite of adventurous.'

    Charcoal on canvas, framed without glass
    75 x 98.425 inches (190 cm x 250 cm)

  • Rinus Van de Velde, Antwerp, June 2012: 'There is a code to solve it, and I happen to know it by heart: 1) FI U LI UI / 2) Ri Di R D / 3) Ui Li U L U F Ui Fi / 4) U R Ui Ri Ui Fi U F / 6) F R U Ri Ui Fi / 6) R U Ri U R U U Ri / 7) U R Ui Li U Ri Ui L / 8) Ri Di R D', I once told him over dinner. but he didn't seem to be impressed at all, and just muttered. 'I know you are the master of the game, but stop fiddling around with that thing. It makes me bloody nervous.' I hadn't even noticed I had taken it out of my pocket again.

    Charcoal on canvas, framed without glass
    78.75 x 59 inches (200 cm x 150 cm)

  • Young female art student to Conrad M., Antwerp, 2012, quoted in Rinus Van de Velde, 10 years of friendship: a spectral autobiography. pp. 154: 'But you're supposed to go out and be amongst people and open yourself up to insanity. You are a writer, Conrad', she said after he had told her he had been going out too much and felt completely lost. I knew very well that deep down Conrad hated her misplaced remanticism, but he seemed to play along nevertheless.

    Charcoal on canvas, framed without glass
    57 x 78.75 inches (145 cm x 200 cm)

  • Rinus Van de Velde, Antwerp, January 2012: They say that me and con look like brothers, but i'm not so sure that we really do. I must admit though, that my self-image is very much coloured by what he looks like, so much even that, if I paint a self-portrait, I can see some of Con's features in it, albeit in an inverted way. For example: he is smaller but looks older, which makes me tall and young in general. And I am definitely the more handsome of the two: if I look like James Dean, which I hear quite often, he looks a Polish James Dean imitator. Conrad would definitely admit that, even in public, although he would always be the one that takes that girl home, god knows why.

    Charcoal on canvas, framed without glass
    55 x 78.75 inches (140 cm x 200 cm)

  • Dialogue overheard at Van de Velde's opening in Antwerp September 2011: X: 'Last time I saw him, he was digging a hole in that little park just outside the museum of fine arts.' / Y: 'Why?' / X: 'I don't know. doing research for his work? Buying something? Delving up a treasure? No-one ever seems to know what that Conrad's up to.' / Z: 'But that wasn't Conrad who dug that hole, it was Rinus. I know because I happened to be there that day. I couldn't see what was going on all that well, but I think he was digging up a lamp he burried there. Must have been some kind of performance.' / Y: 'Maybe. to be honest: I don't know either of them all that well. But they do look alike, don't they.' / X: 'They do. Aren't they brotheres?' / Y: 'Idon't know. Conrad's second name starts with an M, I think. So they must be just friends. / Z: 'Well, the only thing I know is that he's supposed to be a writer, or a poet, but I don't think he's ever really published anything in his life. He drinks and hangs out with young girls more than anything else, that's what I hear. And he also thinks of himself as a musician. Needless to say I have never heard his music.' / X: 'He look link of old, doesn't he?' / ' Y: 'But not unpretty.' / Z: 'A bit James-Bondish.' / Y: 'I'd say more like James Dean.' / X: 'But so, anyway, all of a sudden he disappeared. At least, that's what I heard.'

    Charcoal on canvas, framed without glass
    74.8 x 98.5 inches (190 cm x 250 cm)

  • A selective discography of Conrad M.—albums, scribbled down on a napkin, possession of Rinus Van de Velde: The Howling Fantods—Domestic Deliberations EP (2009): 1) Intro to a moody brunch (1:02), 2) Stop laughing, prink (3:12), 3) Get yourself a mars (3:45), 4) Hit hard and show (2:19), 5) Solo moments (1:44), 6) the flesh is weak (2:27) / The Sad Family—Kitchen Table Melancholia EP (2009): 1) I read books (2:16), 2) Story Junks (0:57), 3) Pain, right here (2:01), 4) Ah Christmas (1:59), 5) What's fair? (1:36) / The Sad Family—Sober & Lonely Fun EP (2001): 1) fuckupstop & funstart (3:18), 2) sleep with a ghost (2:39), 3) what you do—what you become (2:10), 4) stop that song (0:56), 5) night will come soon (3:08) / Xx Xxxxxx—Self-titled EP (T.B.A.): 1) What happened to your band name? (0:22), 2) Misspelled Tattoos (0:31), 3) A Thousand Snares and Floor Toms (0:45), 4) 1982 (0:16), 5) Unite Against Society & Death (1:02).

    Charcoal on canvas, framed without glass
    146 x 98.5 inches (371 cm x 250 cm)

  • Rinus Van de Velde, Antwerp, November 2012: Why Conrad is my best friend? Because he's everything I am not. And since I'm so boring and normal, he’s a thousand things. I negotiate my whole identity with his. You could say that, through him, I become the sculptor of my artistic self. Even now that he’s gone, I can feel him standing somewhere behind me.

    Charcoal on canvas, framed without glass
    53.15 x 78.75 inches (135 cm x 200 cm)

  • “Rinus Van de Velde’s friend and biographer Leo Pratt on seeing one of Conrad M.’s musical performances, Paris, september 2011: When the noise peaked, he went completely berserk and jumped back first into the drum kit. After that, he started improvising something that mildly resembled a real song, which he sang softly and in a ghostly, detached way, as if he were some kind of medium, eyeballs rolled all the way up, a yellowish white marbled with a million veins. The lyrics, if I remember them correctly, went something like this: ‘Oh lord / oh my back hurts / the flesh is wea-eak / the flesh is weak / the flesh is wea-eak / So won’t you let me lie down / let me lie down / c’mon and let me lie down / down some more / I am tired and I am bored.’ And then he picked up his guitar and just continued making the most unforgiving noise I have ever heard.”

    Charcoal on canvas, framed without glass
    66.9 in x 94.4 in (170 cm x 240 cm)

  • Rinus Van de Velde, Antwerp, April 2012: At a certain point, Conrad asked me to model for him. He said he wanted to paint a 'Portrait of the artist Rinus Van de Velde as a nineteenth-century model'. While working on it, he told me he hadn't painted since he was a little kid, and you could tell. Conrad overacted his painterly role with an adorable sense of seriosity: he peered intensely through narrow eyes, too a few steps back now and then, held his brush up to measure. The result looked terrible: the anatomy was awkward, his brush technique was nervous and frenzied, the colors and overall composition were completely out of key. I told him it was refreshing to see myself through his untrained and naive eyes. But Conrad said he hated naivety, and after he got drunk, he decided to destroy the painting. A few days after that, I started painting a 'Self 'portrait as a nineteenth-century model', as an ode to the destroyed original, an ode to an ode. The piece turned out to be a big success at my next museum show. I am nothing without Conrad's thoughts. He is a great source of inspiration."

    Charcoal on canvas, framed without glass
    55.118 x 78.74 inches (140 cm x 200 cm)

  • Rinus Van de Velde, Berlin, October 2011

    Charcoal on canvas, framed without glass
    90.55 x 78.75 inches (230 cm x 200 cm)

  • 'Juice', one of the many poems Conrad M. used to recite during lifts home after a long and wasted night, memorized by Rinus Van de Velde and quoted in his book 10 years of friedship: a spectral autobiography, pp.77.

    Charcoal on canvas, framed without glass
    78.75 x 59 inches (200 cm x 150 cm)

  • Conrad M. on sharing a studio with Rinus Van de Velde, Antwerp, 2009, quoted in William Crowder. A sculpture and its residues and other stories, p.65.

    Charcoal on canvas, framed without glass
    78.75 x 78.75 inches (200 cm x 200 cm)










OCTOBER 27, 2012



APRIL 27 - MAY 25, 2013