Painting Say Yes When You Want To Say No 1

Say Yes When You Want To Say No #1
Acrylic and oil on linen
115 x 115 cm
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Painting Say Yes When You Want To Say No 2

#2
Acrylic and oil on linen
80 x 100 cm
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Painting Say Yes When You Want To Say No 3

#3
Acrylic and oil on 300 g. Arches Huile paper
40 x 50 cm (30 x 31,5 cm)

Painting Say Yes When You Want To Say No 5

#5
Acrylic and oil on linen
70 x 110 cm
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Painting Say Yes When You Want To Say No 6

#6
Acrylic and oil on linen
70 x 110 cm
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Painting Say Yes When You Want To Say No 7

#7
Acrylic and oil on 300 g. Arches Huile paper
40 x 50 cm (30 x 31,5 cm)

Painting Say Yes When You Want To Say No 4

#4
Acrylic and oil on 300 g. Arches Huile paper
60 x 80 cm (51,5 x 60 cm)
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Painting Say Yes When You Want To Say No 8

#8
Acrylic and oil on 300 g. Arches Huile paper
60 x 80 cm (51,5 x 60 cm)
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Painting Say Yes When You Want To Say No 9

#9
Acrylic and oil on 300 g. Arches Huile paper
60 x 80 cm (51,5 x 60 cm)

Painting Say Yes When You Want To Say No 10

#10
Acrylic and oil on 300 g. Arches Huile paper
60 x 80 cm (51,5 x 60 cm)
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Say Yes When You Want To Say No, 2016

Say Yes When You Want To Say No is an artwork that includes a series of paintings and short videos. The paintings are a result of the interaction between Roukens’ obsessive perfectionism and searching for ways to oppose it. In the painting process he used several experiments to free himself from that obsessiveness to find a moment of in-between. Each painting is build onto moments of these definitive decisions and doubts. For this series Roukens worked from his own archive of experiments, colours and patterns. The four colour combination evolved out of experiments for previous paintings and the (work) pattern is from If You Can’t Be Good, Be Weird #3. It’s a squared pattern with one larger square in the middle. The experiments came from breaking the rules that he had set in advance, such as: not finishing a pattern or displacing it, changing the colour combination in the middle of the process and adding a coincidence by using tape, so that the paint would slide underneath. All these experiments forced Roukens to keep working on the painting and kept the interaction between order and chaos going.