The work of Guido de Boer attracts attention because it fits within the geometric abstraction movement with rare intensity. His pieces are characterized by a minimalism that revolves around the contrast between squares and strokes in black and white. The pieces presented at this first exhibition dedicated to the artist are on paper, ranging from A3 to double-raisin size. What intrigues is his sketchbooks, where page after page, Guido uses grids to compose patterns of black tiles, each measuring 5 mm. Systematically, he fills the pages with infinite creativity and the need to create graphic syntheses between typography and abstraction. It should be noted that on certain large-format drawings, a centimeter grid is sketched in pencil, guiding the artist through winding trajectories where the goal is sometimes to connect the lines. At certain points, the junctions are impossible, thus concluding the work. Observing these drawings, one is drawn into visual games, sometimes hallucinatory, as the rhythm imposed between the nuances troubles our perception. At this stage, the artist communicates two things. Firstly, by stepping back from what we observe, we see neither black nor white, but gray. Secondly, despite the artist's desire to order the forms, chance often prevails over the overall composition. This expression conveys the highly personal message that Guido de Boer wishes to impart: not to rely on appearances, but to recognize that the essence of things has only appearance as a form of expression. Occasionally, from these compositions, alphabets and words emerge, always with the intention of saying little but committing with veracity. Thus, the piece titled "NO" is a large-format painting featuring two traces in black ink forming the word "NO". By purchasing this artwork, you support a cause, as 50% of your investment will be entirely donated to an activist organization of your choice, which will be mentioned in your certificate of authenticity. With each drawing executed in ink, Guido manages to create works that are both decorative and perfectly radical. His enticing and promising approach should appeal to enthusiasts of abstract and graphic art.
