Museum paviljoes text

In 2003, the artcritic defined Jhim Lamoree in Dutch newspaper Het Parool the painting of Berlin Karl-Marx the Allee van Tjebbe Beekman as an urban inferno. In his view a youthful and contemporary life feeling, radiated the work among the other participants to the royal price for painted art.
Beekman did not win the price, in spite of the fact that a jury member had made him strong for that.
That´s how it works in the Netherlands, commission - and jury country: one chooses for consensus, strange fruit will never be taken into consideration.

Lamoree had typified the work of Beekman in one sense striking.
Beekman does not paint just simpely town landscapes; it is as if each moment they burst. From their joints, so many dynamics and movement can he manages to suggest. The city is for Beekman as a moving organism that grows and shrinks with nieuwbouwprojecten and deforestation at the same time. He exposes with his manner of painting the continuous dynamics of a metropolis.

Beekman paints spectacularly, but reflects also meaningful details. Ranges of buildings strewn with satellite dishes betray for example the hunger of the occupants to not European media for their news broadcast.
Each painting strove seems a signature, that´s how fluently and accurate they have been put.
But the work of Beekman produces also a chaotic sight. This has to do with the use of (digital) photography of town pictures and buildings, which he treats on the computer.
His buildings seem to yield sometimes or collapse. With his manner of painting Beekman exposes the ongoing dynamics of the metropole.
Neither a bird flight perspective with which he gives a look up the roofs of the city or if he chooses for a panorama view along the town edge, Beekman puts the correct proportions on the canvas with an seemingly obvious gesture.
Particular is that Beekman makes much of his work lying down on the ground. Because of this he can use several materials and sorts of paint without running in each other.

Macha Roesink