Frits Maats' research into the interchangeability of painting and video continues in 'The King of Saba'. At a slow tempo, calm and dynamic sections flow into each other. Images of paintings are intercut with digitalised diagrams containing still-distinguishable motifs from paintings. In contrast, fast-changing images appear with segments like a stain left blank, inside which other images emerge to contrast or harmonise with the background. Two more fragments follow, again each in turn expressing - though in a different mould - slowness and dynamism. Maats adopts a less cautious approach in his paintings, often employing rough, impulsive brush-strokes. The same applies to his treatment of the audio-signal, with its emphatic interference. Maats has here successfully let the handwriting of the painting technique and the directness of the video medium loose upon each other.
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Marie-Adèle Rajandream
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