KANTELING

Moving Gallery opens the exhibition KANTELING on Saturday 29 August, featuring new work by three artists, each with a distinct abstract visual language, yet all three at a pivotal moment in their artistic trajectory: in their latest work, they mark a distinct turning point in material, technique, or working method.

An artistic practice is never static. Sometimes work evolves gradually; at other times, an artist suddenly takes a direction that breaks distinctly with what came before. KANTELING brings together three artists in whose work precisely such a shift is becoming visible right now.

Zaida Oenema is renowned for her meticulously precise paper reliefs. Using pencil, scalpel, and soldering iron, she draws, cuts, burns, and folds rhythmic patterns that shift continuously with light and shadow. For KANTELING, she departs partly from paper for the first time, working also with wood and cardboard. The same focus on rhythm, repetition, and the visible hand of the artist remains, yet acquires a different spatial quality through these new materials.

Daan Rietbergen also takes a striking step forward. For years, letterforms and typography formed the foundation of his practice. Working from rigid grids, he transformed letterforms into abstract compositions where legibility became increasingly secondary. In his latest work, he lets go of letters entirely for the first time. Using lighter and more fragile materials, he explores how his graphic formal language can evolve without the alphabet as its departure point.

For Lenneke van der Goot, change is a constant. Her expressive work navigates between abstraction and figuration, as she continually seeks out new techniques, materials, and scales. In KANTELING, she presents layered constructions in which works on paper and lithographic materials are placed in front of and behind one another. This three-dimensionality ensures that the work presents a different aspect from every angle.

Across all three artists, a clear shift is visible in the new work. The familiar is released or re-examined. Consequently, KANTELING is not only about what is on view, but also about the preceding process—about the moment an artist decides to embark on a new path.

“That precise moment is what we find compelling,” says gallerist Arnoud van Mosselveld. “You see artists who have a complete command of their craft, yet refuse to remain comfortable. They take the risk of letting go and searching anew. We don't yet know where these turning points will ultimately lead—and that is precisely why showing this work now is so exciting.”