A pair of folded hands in the medieval Isenheim Altarpiece became the starting point forJosé Krijnen’s extensive painterly and theoretical exploration of human gestures. In herwork, the gesture is central. A versatile and fluid movement that can carry a spectrum ofmeanings, from connection and communication to mystery and contradiction. Asphilosopher Francis Bacon (1561–1626) remarked: “And as for gestures, they are astransitory hieroglyphics, and are to hieroglyphics as words spoken are to words written, inthat they abide not; but they have evermore, as well as the other, an affinity with thethings signified.”

For Krijnen, gestures operate in much the same way as memory. Both are fragile yetpersistent, transient yet deeply evocative. A loving gesture in one moment might appearthreatening in another; an action expressing appreciation in one culture might hold anentirely different, even offensive, meaning elsewhere. This inherent ambiguity is whatKrijnen consciously brings into her artistic practice.In her paintings, gestures and memories acquire their meanings in the moment, shapedby the viewer’s interpretation and the cultural lens they bring to the work. Yet, even as weperceive an underlying, universal truth in her images, it eludes precise definition. Likememory itself, Krijnen’s work remains fluid, constantly shifting depending on time, context,and perspective.

The Layers of Meaning

Krijnen’s approach parallels elements of Islamic miniature art. In many miniatures, as inher paintings, the backgrounds are derived from textile designs, such as medallioncarpets. Her works often feature intricate, geometric star patterns and arabesques,reminiscent of Spanish or Portuguese tiles from regions once under Islamic rule. Theserepeated patterns, known for their full tessellation, represent infinity, the eternal, and theall-encompassing creation. In Krijnen’s work, this visual repetition mirrors the cyclical andfluid nature of memory. As Dutch author Cees Nooteboom wrote: “Is there an archaeologyof gestures? How old is the gesture with which a woman lifts her offering basket of fruit toher head? …gestures cannot be petrified; they have to be recreated. Their history isancient, but their archaeology has no date… repetition is an attempt of cyclical time toapproach eternity.”

This sentiment resonates deeply with Krijnen’s practice. Her work is not about presentingfixed meanings but about capturing the transcendence and universal realities embedded

in gestures, patterns, and cultural symbols.

Bio

Jose Krijnen (Breda, 1972) is currently a PhD candidate at TiU. She completed a Fine Art program at the Royal Academy of Art, The Hague (NL) and graduated with distinction. She also studied Humanistic Studies at the University of Utrecht. She has showcased her work in various group and solo exhibitions across the Netherlands and internationally, including recent shows at Big Art in Amsterdam and in venues like projectspace BMB, Kunstenlab in Deventer and China. She has been nominated for the Buning Brongers Prize. Krijnen has held several teaching positions.

TEXT by SEA Foundation Tilburg