Guido Vlottes can be seens a painter who stands within the tradition of Dutch art, which is abroad mainly known by it’s 17 century paintings. His attitude to reality and his way and technique of painting are however at all sides different from the portraits, landscape or still lifes of more than three centuries ago, although he remains realated to his ancestros. During the abstraction of the 20th century — when the autonomous artworks ruled the waves — a new realism the Netherlands cames as a reaction that has maintained itself onto now. This realism is dealing with the life and experiences of the painter, but they are not translated in an exact copy of what has been seen or felt. The spectator is, one can say, part of the painting, and with is knowledge and experiences the spectator completes the painting. This can be compared with the Chinese calligraphy — signs originated in reality — which are meaningful and representative, without only representing waht they mean.<\/p>\n

In Vlottes’ paintings there are no exact meanings, but you can guess what they represent.<\/p>\n

The painter gives us “hints” about objects and their floating palces in space and time. This titles of his paintings are also hints, pointers to our experiences. What we know of as “normal” is in Vlottes’ work represented in an unusal
\nway and in an ususal space. Something is happening, something that can not be
\ndescribed, but it can be felt or guessed. That curious atmosphere makes the work
\nof Vlottes intriguing and exciting. <\/p>\n