Surreal is a much over used and abused word or concept. André Breton, the dictator of Surrealism defined it in 1924 as, “Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought.” However there are many surrealist painters like Magritte and Dali whose work is very precise with a strong element of planning. With others, like Miro or Masson, the work is clearly more spontaneous.
It’s hard to say which side of the fence Arthur Stam stands. As is clear from the current exhibition of his pictorial works at Galerie Ruimte Remmelink in Delft there is a pre-concept in much of the work, but there also appear to be random elements, especially with the applied cut-outs from old books of engravings. Stam admits to being a surrealist but also to having a realistic and romantic side. There are often noticeable nostalgic aspects to his work, especially a fascination for industrial sites and landscapes like the ones he discovered while on an epic cycle ride through eastern France – there is a painting of some of the peaks in the Vosges Mountains.
Stam creates with whatever is to hand. He paints pictures in the conventional sense, always on paper, but nearly always applies other elements, cutting up either specially painted pieces of paper or off-cuts from other work to create them. He regularly uses engravings from old books, often Meyer’s Universum. At times he creates pure collages à la Max Ernst. He also makes beautiful small sculptures but there is only one of these in this show.
Much of Stam’s work has common threads – solitude and emptiness. The rooms or spaces, apart from the objects in them, are empty and any figures included seem lonely or lost. Either wandering aimlessly or standing still, they try to understand where they are and what they are doing there. We are in a dreamlike world, reminiscent of de Chirico’s desolate arcades and empty urban landscapes – this is the stuff of pure Surrealism.
Stam’s pictures are all painted with a master’s hand, employing a subtle palette of earthy greys and ochres using egg tempera, watercolours or whatever medium comes to hand to create fine layered and subtle textures. By applying cut-outs an extra dimension and textured layer is created, giving the work greater depth and richness with an almost stage-like quality. This impression is enhanced by many of the collage elements which are often straight-edged, giving the impression of theatre scenery and creating a desire to know what is going on behind them. I really like Arthur Stam’s work and enjoyed this exhibition which he shares with the small figurative sculptures of Peter Dejong and which continues at Galerie Ruimte Remmelink in Delft until 25th May. Michael Hasted 3rd May 2025
