A pair of folded hands in the medieval Isenheim Altarpiece became the starting point for

José Krijnen’s extensive painterly and theoretical exploration of human gestures. In her

work, the gesture is central. A versatile and fluid movement that can carry a spectrum of

meanings, from connection and communication to mystery and contradiction. As

philosopher Francis Bacon (1561–1626) remarked: “And as for gestures, they are as

transitory hieroglyphics, and are to hieroglyphics as words spoken are to words written, in

that they abide not; but they have evermore, as well as the other, an affinity with the

things signified.”

For Krijnen, gestures operate in much the same way as memory. Both are fragile yet

persistent, transient yet deeply evocative. A loving gesture in one moment might appear

threatening in another; an action expressing appreciation in one culture might hold an

entirely different, even offensive, meaning elsewhere. This inherent ambiguity is what

Krijnen consciously brings into her artistic practice.

In her paintings, gestures and memories acquire their meanings in the moment, shaped

by the viewer’s interpretation and the cultural lens they bring to the work. Yet, even as we

perceive an underlying, universal truth in her images, it eludes precise definition. Like

memory 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 in

her paintings, the backgrounds are derived from textile designs, such as medallion

carpets. Her works often feature intricate, geometric star patterns and arabesques,

reminiscent of Spanish or Portuguese tiles from regions once under Islamic rule. These

repeated patterns, known for their full tessellation, represent infinity, the eternal, and the

all-encompassing creation. In Krijnen’s work, this visual repetition mirrors the cyclical and

fluid nature of memory. As Dutch author Cees Nooteboom wrote: “Is there an archaeology

of gestures? How old is the gesture with which a woman lifts her offering basket of fruit to

her head? …gestures cannot be petrified; they have to be recreated. Their history is

ancient, but their archaeology has no date… repetition is an attempt of cyclical time to

approach eternity.”

This sentiment resonates deeply with Krijnen’s practice. Her work is not about presenting

fixed meanings but about capturing the transcendence and universal realities embedded

in gestures, patterns, and cultural symbols.

Drawing as Speculation

In recent years Jose Krijnen has shifted her focus to black-and-white charcoal drawings.

These works emphasize texture, featuring intricate, fabric-like patterns that both conceal

and reveal traces of the human form. The structured lines and complex designs create a

sense of movement and depth, encouraging viewers to pause and find “breathing spaces”

amid the density of detail. For Jose Krijnen, drawing offers a more immediate and raw

process than painting. Inspired by the textures of bark and her study of Flemish

Primitives, she sees drawing as a speculative act, an exploration without the need for

definitive answers. These works balance ambiguity and openness, allowing for a dynamic

interaction between artist and viewer.

Painting Rediscovered

While Krijnen has spent much of the past years drawing, she recently rediscovered

painting through her collaboration with the SEA Foundation again. Returning to painting

felt like coming home, a medium where she could layer symbols, textures, and colours

more instinctively than in drawing. This rediscovery has deepened her practice, blending

her humanistic background with a renewed focus on craftsmanship.

Bio

Jose Krijnen (Breda, 1972) is currently a PhD candidate at UvT Tilburg. 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 also serves as the chairperson of the art committee at the

Elisabeth-Tweesteden Hospital in Tilburg and has held several teaching positions.

TEXT by SEA Foundation Tilburg