Zelfportret 2000 nr. 113 2000

Philip Akkerman made this self-portrait in 2000, and it’s one of hundreds he’s done over the years. It's the way he uses line that grabs me; it feels so methodical, yet there's something deeply intuitive about it too. Akkerman’s mark making creates this incredible texture. Look closely at the way he renders his hair, each strand is so carefully placed, creating a sense of volume and movement. Then there's the face, with its almost topographical lines mapping out the contours and shadows. Notice how the lines become denser in the darker areas, giving weight and form to his features. The lines around his neck transform the area into a kind of fleshy accordion. For me, this piece feels like a conversation with artists like Chuck Close, who also explored portraiture through a very specific, process-oriented lens. But where Close often aimed for hyperrealism, Akkerman embraces a certain awkwardness, a rawness that makes the work so compelling. It’s not about perfection; it’s about the act of seeing and translating that vision onto paper.