‘The Homestead Principle #4, Sebastiaan Schlicher at Maurits van de Laar Gallery, The Hague’
By Bertus Pieters, Villa Next Door
There is something jazzy about Sebastiaan Schlicher’s drawings. Or rather something rocking, or even more something punkish. Well, I guess I could go on mentioning musical styles. Too little is known about the influence of music on the visual arts, which must have been quite significant since the inventions of radio and grammophone, especially since the nineteen twenties when records became more widely available. Where the mutual influence of vision, sound and text can bring you today, is clearly visible in Schlicher’s work. Rythms, texts, stripes, lines, hallucinatory visions and graffiti mix in an orgy of pencil, ink and improvisation. In that way Schlicher stands in a musical-artistic tradition that has become more and more obvious and explicit. His works seem to flow into music and vice versa without a problem, so the real music might be something you may miss in his current exhibition at Maurits van de Laar Gallery, but I guess that is just as well for Maurits van de Laar. Instead it is well worth seeing the variety of rawness and virtuosity. Schlicher is not just a good draughtsman or an endearing rough improviser; he knows how to make visions come alive. He knows both their intimacy and their monumentality. He knows the secret life of the visual arts. And if you don’t get it, there is always his Homestead to welcome you.