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Een ontmoeting, 2015

This is a series of acrylic painting that were made with the rule to finish each painitng within 30 minutes.

all paintings are acrylics and charcoal on canvas 25 x 33 cm

Gerrit Rietveld Graduation painting series, 2013

paintings on acrylics,

text on painting through collage.

Poetics of memory

Family memory portraits, 2021-22

This project provides a different angle to my research on the impermanence of memory.

 

I began this project after going through some family pictures. While examining these pictures, I discovered that some family members look very different in contemporary reality than in my memories, as if these memories are 'frozen' in time.

 

In my mental image of my mother, she has chestnut brown hair, as she did during my teenage years, while her actual hair color at that time was white. This highlights the tensions between the static nature of certain memories and the dynamic, constantly changing reality of others. In this case, the fixation of memories in my mind is not subject to the development we observe in daily life, which leads me to wonder how and why some memories remain so fixed, even as the people and situations around us continue to change.

david wasch, painting, drawing, artist

oil paint on canvas 130 x 210 cm

david wasch, painting, drawing, artist

oil paint on paper 85 x 130 cm

david wasch, painting, drawing, artist
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I am currently a guest artist at residency GinDS (https://ginds.org/) from April to July 2026:

On April 1, I began a residency at GinDS, located in a former bunker. Here, I continue The Familiar, an artistic investigation into how the sense of “home” emerges and shifts. I depart from the idea of the familiar: that which seems known, but can never be fully fixed, and becomes tangible precisely through its shifts, and at times, its turning points.

The first chapter of The Familiar developed through a collective process with children. Through conversations, drawings, and shared constructions, we explored what “home” can be: a place, a memory, a language, or a group of people. When one of the children suddenly moved away, his absence became immediately perceptible. What was missing began to shape what remained, and emptiness functioned as a kind of shadow against which everything else took on form.

In this second chapter, I work in isolation. The bunker does not function as a backdrop, but as a research instrument: a space in which absence is already embedded in the material itself, and where the unknown takes precedence over the familiar. Time slows down, withdraws, and at times seems to come to a standstill. The absence of daylight and the enclosed structure demand a different mode of perception, in which presence reveals itself precisely through what is missing.

In this context, I explore how a place gradually becomes one’s own through being there, remaining, and looking.

This research is supported by the AFK (Amsterdam Fund for the Arts).

© 2024 by David Wasch. All rights reserved.

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