Lucht en water 1985

Curator: Looking at "Lucht en water," which translates to "Air and Water," a linocut print made in 1985 by Harrie A. Gerritz and housed here at the Rijksmuseum, what immediately strikes you? Editor: Its stark simplicity, really. The rough-hewn shapes, the almost childish representation of the boat, birds, and fish—it evokes a feeling of innocence and maybe a bit of melancholy. What sociopolitical undercurrents were Gerritz engaging with at this time? Curator: The 1980s in the Netherlands saw increased social awareness surrounding environmental concerns, particularly water pollution and the impact of air travel. Gerritz, deeply concerned about the environment, frequently explored themes of human intervention and its consequences within seemingly idyllic natural landscapes. This piece, rendered with deliberate naivety, serves to critique technological intrusion into nature. The boat is stranded, with an airplane awkwardly present in an almost fairytale landscape where we can almost imagine that birds and fishes talk to each other and perhaps discuss humanity’s devastating interference into nature. Editor: The stark contrast between the simple forms of nature—birds, fish—and the more complex shapes representing human technology really emphasize that divide. Also, notice the hierarchy in forms that reflects the male gaze dominating nature in almost an uncomfortable spectacle where they are forced into a strange communion by an uninvited eye. How do you read the symbolism of the floating objects? Are they purely representational? Curator: The scattering of disparate elements evokes the sense of disjointedness we inflict upon the world and highlights humanity’s constant attempts to order the natural environment. They aren't naturalistic; rather, these stylized forms suggest universal elements, emphasizing their presence across contexts. The boat itself appears more like an obstruction between planes above the sky and shoals of fish that share the surface of the water. Editor: Yes, the isolation of each object heightens the feeling of human interruption and displacement. There is no real interplay here. It is also visually fascinating, since the artist seems more at home creating creatures than planes, although, by placing all of the shapes together he forces us to think. "Air and Water," indeed a somber commentary on nature and humankind. Curator: Absolutely. Through the artwork’s intentionally rudimentary style Gerritz challenges us to actively reconsider our relationship with, and impact upon, the world. We could ponder about how our world appears like one that does not belong to us anymore.