Andrea Freckmann, Sam Hersbach, Marjolijn van der Meij, Ronald Versloot

Andrea Freckmann (1970) In her "Guck mal. Wie schön" paintings the picturesque Zeeland polders with their cows and meadows. In her accurate way of painting, she combines the landscape with ornaments and geometric patterns that counterbalance the idyll and nostalgia in the depiction.

Sam Hersbach (1995) mixes in his paintings various realities ranging from selfies to quotes from art history to fantasy creatures that he connects in a dynamic way of painting. His central work in the exhibition is a monumental 3-by-2-metre canvas on which he depicts the 19th-century painter Ary Scheffer amid a tangle of insects, plants and fish in shades of green and dark blue.

Marjolijn van der Meij (1970) recently worked on a series of small paintings on paper in which she highlights persons and objects from media and mass culture, giving them an almost sacred appearance. A portrait of Virgil van Dijk seems to become an icon of a Byzantine saint, Gucci and Dior bags turn into unattainable, sacred objects.

An open window recurs regularly in Ronald Versloot's (1964) paintings. From the Renaissance onwards, the painting has been a metaphor for a window on the world. With Versloot, you can see a landscape with a cloud but also a pattern of branches with a bird. The question is whether the image refers to a thought or memory or to visible reality. Looking outwards thus also becomes looking inwards.