Hans Roos decided to abandon the rectangular frame and go back to the basics of how we see: through the eyes. Since then he has painted within a rounded frame, which due to the lack of corners results in a completely different experience of gravity, of above and below. Forgoing a central midpoint, Hans uses asymmetry to control the complexity of his compositions. 

Whereas Hans Roos breaks through the symmetrical characteristics of the circular form in his search for balance, symmetry is the backbone of Raymond Lemstra’s fictive geometrical ‘portraits’. These systematically feature two ‘eyes’ on either side of the dividing line between a mirrored image. Despite this point of recognition, there is no narrative; the images arise from a spatiality found in the paint, in which the brushstroke plays an important role.