Ronald de Bloeme


Home Alone, 2012
Speisereste Kategorie 3, 2011
Diktatur, 2009
Männerparadies, 2007

In an era in which imagery is increasingly superseding language, Ronald de Bloeme (NL,*1971) analyses the origin of signals and the components of their persuasiveness. How do producers of visual language manage to manipulate neutral form and colour in a way that they induce a subconscious process of identification for the largest possible number of individuals of a specifically defined target group? To what extent does red next to white evoke a flag or the packaging of a chocolate bar?

Through appropriation, deconstruction and manipulation using a computer Ronald de Bloeme transforms image templates of our consumer society. He censors existing text and eliminates any figurative references, creating a pure geometric language, which he again combines and distorts into arresting compositions. These are then transferred to canvas with competing colourful layers of high-gloss and matt enamel paint. The resultant expansive surfaces capture our attention through the combination of colour and use of various techniques, with a suggestive impact analogous to the original advertising medium's intention.

Through the collaging of everyday consumer goods that we are constantly exposed to, de Bloeme´s body of work creates a heterogeneous field of forces, of tensions and contradictions, certainties and uncertainties. The original context is not maintained as such, rather the work recalls memories of perception or of consensus of knowledge; the information, retained only as codes, has an effect on us but we cannot explain why. Are we not merely carriers of internalised decoding systems, controlled by the ever-extending propagandistic sign-systems of the dictatorship of consumerism?
Whilst de Bloeme´s colour combinations can be identified as codes, at the same time samples of other contextual systems of signs unfold. In doing so the artist brings the relativity of information into an innovative game. In his painting Ironie he mixes a military code system with the aesthetics of a paper napkin; in Extract he replaces in a more radical manner all relevant core information with constantly oxidizing gold pigments.
With his contra-manipulation de Bloeme asks us to determine how complex the structures behind communications strategies for consumer goods really are and how much impact they have on our subconscious and to what extent they control our everyday life.

From 1992 until 1996 Ronald de Bloeme studied painting at Willem de Kooning Academy in Rotterdam. In 2000 he received a scholarship to Künstlerhaus Bethanien Berlin.He lives and works in Berlin. De Bloeme received the Vattenfall Kunstpreis Energie for 2007. Recent exhibitions include soloshows at Berlinische Galerie Museum, Pharos Centre for Contemporary Art, Cyprus, and Stedelijk Museum Schiedam, NL, as well as group shows at Substitut Berlin, Raum 2810 Bonn and Kunstsammlung Gera.