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kavelaars facebook youtube instagram home biography work cv press instagram contact log in available works collector (1985, the netherlands) began his journey as an artist from a very young age. as a child, he doodled, drew and created images which became a naive pictorial language of communication. growing up his father performed as a clown, kavelaars transformed his doodles and drawings into illustrative posters for his fathers’ shows. kavelaars work has become a refined visual language. he describes his intention as “creating a world i can get lost in.” he wants “to be able to look at it endlessly, discover new meaning, fantasise and reflect on it.” kavelaars aims to create works where the meaning is endless and with each viewing a new meaning is discovered, the art speaks for itself. he creates works that merge site-specific installation, painting and sculpture. kavelaars has developed a distinctive style which is defined by experimentation with line, bursts of vibrant colours and organic shapes. the aesthetic is formed by kavelaars unique ability to subconsciously apply an intuitive self-taught practice to arrange shapes and colour , which combined, creates a visual sense of movement and diversity. kavelaars uses colours that illuminate off the canvas and lines that encourage the audience to interact with the energetic and playful subject matter. now an advanced and developed practice, kavelaars translates a unique and sometimes coincidental interaction between the elements that defines his style. the interaction between the elements is a harmonious collaboration. the works are connected by his ability to arrange and layer the elements which he uses to create depth and perspective in the work. he has cultivated a physical practice of art making which is executed in site-specific projects. in his career defining solo exhibition of 2016 titled no good can come from this, kavelaars transformed a space in amsterdam and left no part of the building’s floor, ceiling or walls uncovered. his works engulfed all surfaces of available space. in interacting with kavelaars work, the audience is encouraged to move freely through the site and kavelaars is forever present no matter which way they turn. kavelaars now based between shanghai and amsterdam has spent the time living and working in shanghai and iran (residency at pejman foundation). he won the stolichnaya art contest and his work is in private collections all over the world. three knee deep (amsterdam 2016) three knee deep when no man’s art gallery invited kavelaars the to join him for an exhibition in shanghai in 2013, he decided to take the opportunity to work in a shanghai studio for two months prior to the exhibition there. from the first brush he experienced a creative energy he had previously not been able to channel, an endless source of inspiration that noticeably changed the works he created, and would even drastically change his life. kavelaars’ paintings visibly manifested a new direction. his work became stronger, his oeuvre found a focus and he became more and more conscious of his process. the newfound inspiration was a strong factor that made him decide to stay in shanghai after the exhibition, and he has been living and working from china ever since. occasionally kavelaars returned to the netherlands, trying but failing to recreate that same creative energy he experienced in shanghai. this resulted in a new experiment during his solo exhibition in the beginning of 2016. no good can come of this was devised as a trial wherein the artist confined himself in a vacant house on the kinkerstraat for a month. enabling himself to explore whether he could find creative freedom if he imposes circumstances like social isolation, loneliness and powerlessness. the experience was a personal success: the external impulses that had fed him in china now came from within. three knee deep is a continuation of recreating this internal energy: an extension of his solo no good can come of this, redefining the parameters of creative freedom. kavelaars uncompromisingly occupies the cells of the former police station on the nieuwezijds voorburgwal 69 in amsterdam. the four consecutive cells narrate a transition from chaos to equilibrium. again, kavelaars’s stories go beyond the framework of his canvasses, however within the confinements of the cells. from interpretations of scribbles and scratches of former prisoners left on the walls to serial and repetitive signs enthused by the disturbed outcome of long detention. the first three cells show a distribution of energy that finally vanishes in the last cell, a sterile presentation almost entering a void, the unknown. the cells narrate a linear story, a lifecycle that not only shows the artist’s occupation with defining the parameters of creative freedom but also seem to propose a new beginning. if you want to see my exhibition ‘three knee deep’, from your own point of view please watch this 360 video and look around yourself. photo’s: paintings: iran (2016) no mans art gallery (group) – tehran ‘untitled’ (solo) – vista+ gallery – tehran other works created in iran: no good can come of this ‘no good can come of this’ curated by lih-lan wong no man’s art gallery is honoured to present no good can come of this, the first solo exhibition of in the netherlands. kavelaars first exhibited with nmag in 2012 in paris. when we invited him to join us for an exhibition in shanghai a year later, he decided to take the opportunity to work in shanghai for two months prior to the exhibition. from the first brush stroke, he experienced a creative energy he had previously not been able to channel, an endless source of inspiration that noticeably changed the works he created, and would even drastically change his life. kavelaars’ paintings visibly manifested a new direction. his work became stronger, his oeuvre found a focus and he became more and more conscious of his process. the newfound inspiration was a strong factor in his decision to stay in shanghai after the exhibition. he has been living and working from china for two years now. kavelaars would occasionally return to the netherlands, trying but failing to recreate that same creative energy he experiences in shanghai. in the past two years his practice primarily focused on defining the parameters of creative freedom. no good can come of this was devised as an experiment. can kavelaars transport the creativity that seems to be induced by another city? is he recreating elements of a creative freedom if he imposes circumstances like social isolation, loneliness and powerlessness? can his works be as strong as they are in shanghai? prior to this exhibition, kavelaars confined himself within the exhibition space day and night for weeks. we brought him food and materials every week, but other contact with the outside world was strictly prohibited. not a single corner in the space was off limits. the first two weeks of his stay he fought with the space. he felt like a little cat, meowing and crying through the space. kavelaar worked, painted over it and worked on it again. you witness the traces of his process when looking at the different layers on the walls. in the last week kavelaars suddenly realized that while he might have felt like a helpless cat, he had been living in a beastly manner. he decided to start all over again and invoke that primitive energy. the external impulses that fed him in shanghai came from within. shanghai is omnipresent in no good can come of this. the walls reflect his ambiguous position in china. a gagged man, a metaphor for not being able to naturally communicate and understand, or the chinese – often sadistic – humour represented in textual elements like “xiao mi mi” a local expression in which emphasis can change definition. no good can come of this is a representation of kavelaars’ figments, inventions and interpretations. an interplay of daily life and fiction wherein the process is as imp

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