Robert Broekhuis

The artist uses objects and materials unlike the abstracts just because of their meaning. The route we take within his work is intimate and an exceptional form of communicating the unspeakable. Outside the abstract aspect of his work and the 'musical' part, we interpret. Conscious of the language of things, of the poetry of space, he builds up series of associations that create a space of experience. In the end, the work of art guides us through the maker's fairway. The artist seems to end his journeys with beauty as eternal comfort for loss and desire. Treacherous though, because on closer look he uses aesthetics to entice spectators to consider his work in more depth. And then they turn out to be metaphors for loss, destruction and cruelty. In spite of this his work shows also a zest for life and humour ... His work can be regarded as an investigation into the human condition and the vulnerable state in which we humans find ourselves. Maurice van Tellingen, 2018

Die Arbeiten der Kunstler beschäftigtigen sich mit dem paradoxen Widerspruch der Gleichzeitigkeit von Schönheit und Gewalt. Als skulpturale Metaphern für Schmerz und Erlösung, über Trauer und Trost. Es scheint auch ein Spiel zwischen Träume und Rituale. Er benutzt Materialien wie Teer, verbranntes Holz, Stein, Stahlwolle, Seil, Eisen und Äste. Es gibt eine Affinität zu Arte Povere, aber auch zur Konzeptkunst.Den Schatten einer Arbeit spielt ein wichtige rolle. Das Spiel mit der Schwerkraft. Was ist mit den Gesetzen von Isaac Newton? Es gibt Arbeiten die fast fragen ob man gleichzeitig lachen und weinen kann. Seine Interessen liegen in der 'Musik' der Werke. Und die Haut und Körperlichkeit eines Werkes. Die Poesie des Gewöhnlichen und der alltäglichen Dinge und die prekäre Balance zwischen Schönheit und Inhalt. Charlotte Bergmann, 2019


‘My work is ambiguous. There are always unconscious factors that lead to a certain conception. Afterwards one can say: 'It's a good work'. But what is good about a work, you don't really know. Therefore, interpreting a work is a rationalisation in retrospect. ‘


Après tant d'années, le rêve, pour moi, s'échoue encore un désir insatisfait de mouvement, de mouvements intenses, excessifs, et me laisse vivre surtout dans les gestes, dans les rythmes, dans les actes. Henry Michaud, Les Rêves vigiles, 1969

You hear someone laughing and someone else crying heartbreakingly. What do you experience? You can't laugh and cry at the same time. But as an artist, you can show every contrast. As the Italian futurist Bruno Munari showed with his photo collage: Nothing is absurd for those who fly. (1930)

Humans are storytelling creatures. When Hannah Arendt was asked "Who are you", she replied:"Allow me to tell a story."
Who we are is impossible to understand without the story of our live, writes Arendt in  Between Past and Future.

Michael Ondaatje writes in his novel Warlight:
We arrange our lives on the basis of stories we hardly know.

Die Aussprache des Dichters, Dramatikers und Philosophen Friedrich Schiller ist vielleicht der wichtigste Ausgangspunkt: ‘ Der Mensch spielt nur, wo er in voller Bedeutung des Worts Mensch ist, und er ist nur da ganz Mensch, wo er spielt.'

Late one night I was walking on Boulevard Saint Germain in Paris. I passed a restaurant. It was closed and dark inside. In the windowsill stood a fishbowl, with one lonely fish swimming in it. I talked a bit to him. To cheer him up. I should have known fish don’t care about humans. So in the end I shouted :’Stupid fish’ to him. Went home and made this drawing.