by Ariadna Zierold
Amsterdam-based Raymond Lemstra likes to refer to, with his work, the illustrative nature of primitive drawings and sculptures. What he finds interesting about these is the distortion as a result of selective emphasis; parts of interest are emphasized, unimportant parts reduced or left out. For characters this means they come out big headed, where focus is on the face and the body is trimmed to its essential properties.
He applies this primitive logic as a method, but he doesn’t apply it equally to all aspects of his work. Instead, he chooses to use a very mature, highly laborsome technique for the execution of his work. This contrast, between the naive and sophisticated, gives the work a somewhat awkward taste. A clash of intent, simultaneously assuming simplicity and complexity, randomness and reason, flaws and perfection. The purpose of which is to inspire a sense of joy and discovery.