Kenne Gregoire (born 1951) impressive portfolio of works form an important part of the exciting contemporary genre - New Dutch Realism.

The painting ‘Hogerop’ (65 X 67 cm) is a wonderfully detailed rendering of a dreamlike landscape depicting uninhabited buildings from a bygone era perched on top of three trecherously steep mountains.
At the pinnacles, the long since abandoned buildings are reminiscent of early monasteries and castles. Elevated and huddling shoulder to shoulder, they survey an unknown (and presumably hostile) distant landscape. Clustered in lofty isolation, their stance seems simultaneously superior and fearful.
The upward spiralling, narrow pathways with uneven and crumbling edges appear dangerous yet compelling - hinting that the romantic goal might, perhaps, be impossible to attain.
This image has a fascinating, almost magnetic pull. The sky is blue but the clouds are dark and heavy and the horizon is hazy. The viewer wonders ‘who, why, what, where and when?’ but the painting holds its secrets very close to its deserted heart.

The painting ‘Klavertje’ (100 X 45 cm) details assorted still life objects on a rough wooden table top with a painted central panel. The flattened perspective creates an ambiguous viewpoint and the eye is caught by the small dark chips on the rim, handle and base of a white enamelled mug. An array of flowers sits informally in a vase at the centre. A single flower has become separated from the bunch, but has been included as part of the setting. The distinctive orange/red rizla packet is a surprising addition to the setting and extends the possibility of including ‘out of context’ contemporary ‘found objects.’

‘Samen’ (80 X 50 cm) depicts a still life in which the table top and background have taken on a painterly quality with coloured, textured divisions - bringing the viewer closer to the actual activity of painting.
Again, the single laid flower rests at the edge of the group, but in this case the heavy bloom hangs in a downward direction.
The white ceramic pepper pot is chipped and the mug, glass, bottle and storage jar are all empty.
The image evokes senses of expectation, void and mystery.

‘Godin’ is a bronze sculpture in the form of a classically styled torso of a female figure.

The figure is light and dancing; dressed in a delicate cloth placed across the shoulder, but the limbs and head are not seen.

The viewer ponders the complete pose, imagines the set of the head and limbs and invents features and flowing hair.

In this way, the idea of beauty is presented as incomplete, unfinished and imperfect.

In the painting ‘Diner voor 1’ (80 X 150 cm) a single empty dining chair is placed centrally in the picture plane.

A long white table cloth lays across the legs of the chair as a wedding dress might drape a bride’s knees.

The table setting is purposeful and precise and the viewer attempts to deduce the unusual carte du jour.

A single flower is laid on the table cloth beside the setting. An enigmatic symbol of beauty, selection, isolation and brevity.

These spectacular new works continue the use of implied narrative of settings to explore themes such as desire, contradiction, isolation and the passing of time.

This collection effectively heightens the strong interest already shown in New Dutch Realism – a contemporary genre that uses detailed figuration to reinvent and redevelop ideas made familiar by the work of the painters of the Golden Age.