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Solo exhibitions include (Upcoming) Position of Being, Kristin Hjellegjerde Gallery, Berlin, Germany (2025); Salon: I’ll Take You There, Kristin Hjellegjerde Gallery, West Palm Beach, US (2024), Chloro Galore, Kristin Hjellegjerde Gallery, London, UK (2024); Situations, Marian Cramer Projects, Amsterdam, Netherlands (2022); Open Studio, Part of Kunstlijn Haarlem at the ‘Onder de Toren’ complex, Haarlem, Netherlands (2021); 30ML Rotterdam Centrum, Rotterdam, Netherlands (2020); De Twaalf Balcken, as part of De Lange Juni Maand, Den Burg, Netherlands (2020); De Twaalf Balcken as part of De Lange Juni Maand, Den Burg, Netherlands (2019); Open Studio, Part of Kunstlijn Haarlem at the ‘Onder de Toren’ complex, Haarlem, Netherlands (2019).
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Group exhibitions include (Upcoming) Growth of the SoiI, Kristin Hjellegjerde Gallery, London, UK (2025); EXPO Chicago, Kristin Hjellegjerde Gallery, Chicago, IL (2025); UVNT, Art Fair with Gärna Gallery, Madrid, SPN (2024), Wajo Artspace Expo, Leuven, BELG (2024), Quartet Show, Gärna Gallery, Madrid, SPN (2024), Thought Forms, Paris +, Marian Cramer Project, Paris France (2023); Where the Wild Roses Grow, Kristin Hjellegjerde Gallery, Schloss Görne, Berlin, Germany (2023); Near / Far, Oever Gallery, Ostend, Belgium (2023); Sunset Pop Up, Marian Cramer, Los Angeles, US (2023); Twice upon a time, Gallery 46 and SR Gallery, Romain Guéroult & Xavier London, UK (2023); Addition to Paris +, Marian Cramer and Aout Gallery, Paris, France (2022); The Flats, Tales Of Art Gallery, Imola, Italy (2019).
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There is an ache of longing in that lingering blue light, perhaps even a hint of regret, but the act of painting a bar stool as if it is a person – a stand-in for the artist herself – is also defiant. She’s sticking up two fingers at anyone who might suggest that sitting in a bar is a ‘waste of time’ (parents, perhaps) or that time spent there was insignificant. We see the same defiance in her depictions of a toilet and a potty, objects which have historically been excluded from paintings despite their ubiquitous presence in our lives. There is a knowing humour in these works, in the way in which they play on notions of power but they are also political. Keijzer is exposing the messy realities of life, of inhabiting a human body, and the undervalued labour of raising children.The textured surfaces of Keijzer’s paintings also speak to the embodiment of memories, how they live beneath our skin. I was here before you presents us with a childlike perspective of a purple armchair and the stretched legs of a ginger cat. This scene is based on Keijzer’s grandmother’s home, which was filled with designer furnishings and occupied by two bossy cats who she wasn’t allowed to touch in case they scratched her. This feeling of tension – between love for her grandmother and fear of the cats – is captured in the contrast between the plush surface of the chair, in the way it glints in the light – a prized object – and the claws of the cat, retracted but still present.
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Again, it’s a painting that uses surreal detail to humorous effect, but in the context of the show, it also speaks to a wider human struggle to find or hold onto a place; it questions how we understand positions of power but also how we ascribe significance. If we understand the chair as a surrogate for the artist, the cat here is literally usurping her position, but who dictates the hierarchy? Who is the ‘I’ of the title? As throughout Keijzer’s practice, there is always an acute awareness of the skewed relationship between the man-made and the natural world.It’s easy to get lost in the heady, disco hues and dreamlike mood of these paintings, but they reward deeper attention. Like the words of a good short story, each brushmark serves a purpose just as every chair we sit on and each moment we pass through contributes to our unique and evolving understanding of the world.
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Lotte Keijzer: Position of Being
Past viewing_room
