Light on Things | Evi Vingerling & Katja Mater

Project

EVI VINGERLING & KATJA MATER LIGHT ON THINGS
Centraal Museum Hartwig Art Foundation, in the Oud Amelisweerd Country House, Bunnik, NL
12 April, 2025 – 26 October, 2025

A broad selection of paintings by Evi Vingerling (Gouda 1979) is presented alongside the more conceptual crossovers of Katja Mater (Hoorn 1979). Despite their different approaches, the artists share a fascination with the experience of time and space. Both are focused on the unexpected poetry of the moment – ​​the flash of insight that strikes you during keen observation, the split second that leaves an endless afterimage in your mind. With themes such as belonging – how I relate to the world around me – and grief, Vingerling and Mater incorporate their own experiences, thereby prompting (self)reflection.

These Days (roses fade and petals fall), 2024, silica gouache on linen 260 x 190 cm. Photo: Fabian Landewee

excerpts in this presentation are from GHOSTS SHELTERING BENEATH A CLOUD OF ENTROPY

by Professor Omar Kholeif PhD CFFRSA

For text in its entirety click here

Installation view, Light on Things, 2025, Central Museum in the Oud Amelisweerd Country House, Bunnik, NL. Photo: Gert Jan van Rooij

“Vingerling’s friend [ ], finely painted line by line, her face looks as if it was composed from fragments. It is akin in some senses to a Lilypad from a Monet painting, a specific kind of impressionistic painting. Here, her massive eyes, cut as they did in real-life, offering shelter and reprieve, a lenticular form that follows us wherever we move.”

[exerpt text O. Kholeif]
Photo: Fabian Landewee

Installation view, Light on Things, 2025, Central Museum in the Oud Amelisweerd Country House, Bunnik, NL. Photo: Gert Jan van Rooij

Sorting
They say that I remind people of Eve.
Of a rapper who was all wo-MAN.
Always metaphoric.
Ovid’s COVID.

A character
As unerringly as the mills of the Gods.
an invention
of limited use.
A facet
A tabulation from the literature
That everyone knows.

Succumb to the thicket.
Succumb to the sickness.
To the very thing that colors you, and me, and all the everyone’s.
The largest, the smallest, or the rarest,
Universal user interface
Vice and virtue.
A misnomer.

O.Kholeif, 2025

Detail
Evi Vingerling
Mothership Heading South (for Jennifer)
silica gouache op linen
160 x 210 cm
Photo: Fabian Landewee

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Installation view, Light on Things, 2025, Central Museum in the Oud Amelisweerd Country House, Bunnik, NL. Photo: Gert Jan van Rooij

Heavenly Body, 2025, oil on linen, 50 x 70 cm. Photo: Fabian Landewee
Detail, Evi Vingerling, Cloud, 2001, oil on linen, 50 x 70 cm. Photo: Gert Jan van Rooij

Threading through Clouds

A cloud from 2001, resembling a crater, painted soon after 9/11 sits before me in Evi Vingerling’s studio. Hundreds of tubes of gouache, hollowed of their contents sit spread across tables forming a dimension unto themselves. The deceptive forms in Evi Vingerling’s paintings lure the spectator into their orbit via their layered sheets of color in silica gouache or in egg tempera. Peer a little closer and they swell, contract, jump at you. Aspects of a painting begin to evoke the appendages of Lebanese artist’s Huguette Caland’s iconic series, Bribes de Corps (1970-1982)—abstract constellations of body parts.

Thick, shaded, a corporeal imaginary, which becomes looser as you inch closer and notice the soft edges. Each resembling skin, unpeeled shells, cracking, unbuckling at the seams. The metaphor of the sky and ground as a simulacrum for the body is a fundamental course through which to examine, study, and focus the gaze on Vingerling’s epic scenes—symbolic fields for deep time and for the experience of flights of fancy. Speaking of purpose of art, the artist Louise Bourgeois once noted that “art repairs the damage inflicted by life.” The subconscious imagination unfurls in an act of constant worldbuilding, a realm constructed from embodied memory, abandoned, fleeting moments, reconstituted, re-formulated through a suturing act of negotiation that occurs in the studio, in a singular act between the artist and the canvas.”

Installation view, Light on Things, 2025, Central Museum in the Oud Amelisweerd Country House, Bunnik, NL. Photo: Gert Jan van Rooij
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Evi Vingerling, Sky Over My Sister’s House (for Cookie), 2025, siilica gouache on linen, 155 x 250 cm. Photo: Fabian Landewee

Evi Vingerling, Ball of Mystery, 2025, colored pencil on paper, 30 x 34 cm. Photo: Fabian Landewee
Evi Vingerling, Untitled, 2024, silica gouache on linen, 200 x 240 cm. Photo: Gert Jan van Rooij
Evi Vingerling, Winter, 2024, silica gouache on linen, 200 x 240 cm. Photo: Fabian Landewee
Evi Vingerling, Zalvende woorden (Soothing Words), 2024, gouache on canvas board, 60 x 80 cm. Photo: Gert Jan van Rooij

I have not stopped coughing since the day that we sat down to look at Ruchama’s face. Ruchama means beloved in Hebrew. She also went by the name of Sara. Her portrait exists here. Her eyes a piercing blue that cuts like a knife. Vingerling made another painting for Sara while she was still alive, battling Cancer, a fight that she eventually lost. This wispy portal of orange and yellow hues concocted out of poetry and whipped cream is called Zalvende woorden (Soothing Words), 2024. Gazing at the image as it hangs in Vingerling’s home with its intended airiness, I am struck by a bolt of melancholy.

The words of public intellectual Jacqueline Rose from November 2024 stirs in my mind, “surely all times are dark times for women” she notes in the preface to the reissue of a volume of collected tales of women. At the time, Rose was reflecting upon a question from one of her readers. Woefully, she acknowledges in response, ten years on that the position of women, has “darkened still more.” Sexual violence and abortion rights have become vessels negotiated in the backdrop of a global pandemic— the woman’s body, what should be a personal vestige has been bandied about as political fodder for the masses, as a guise through which to construct and consume institutional power.

Evi Vingerling, Zalvende Worden | Soothing Words, 2020, gouache on linen board, 80 x 60 cm. Photo: Fabian Landewee
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Installation view, Light on Things, 2025, Central Museum in the Oud Amelisweerd Country House, Bunnik, NL. Photo: Gert Jan van Rooij

Evi Vingerling, 12 ½ , 2024, silica gouache on linen, 150 x 225 cm. Photo: Fabian Landewee

The Experimental Science of the Click
Working backwards and forward,
if only life were a slot machine.
Iron-clad
Life as a casino.
A dizzying amount of work
A bandit problem.
A housewife problem.
An index.
A gateway to life.
Portals, Doors, Windows—
Flung Open.
Trade OFFs.
Experimental intervals.
Drug companies.
The indefinite future.
Theoretical forevers.

Medical companies.
An endless present.
A cured patient.
A forever patient.
A discounted problem.
Now, a fixed interval of time.
Everything is always familiar in the unfamiliar.

Optimistic robots
Formal justifications
Benefits to the doubts
Meet new people
Try new things.
Try and prevent regret.
The JACK Pot.

after the rain,
in-side the cloud
after the drain.
Contested algorithms
I am the
Optimal scenario.
I am matter.
I am mountain.
I am a clinical trial on trial.

Exploitation over exploration.

O.Kholeif, 2025

Evi Vingerling
Untitled, 2007
gouache on panel
75 x 55 cm
Photo: Gert Jan van Rooij

Evi Vingerling, Untitled, 2024, gouache on linen board, 40 x 50 cm. Photo: Gert Jan van Rooij

Me as Mountain
I should
Return to The third
Before I come back to the First
Version
Of me.
Moi
the Perfect lip.
Dapper as such.
C’est moi
Strained, sprained

Splayed, and separated
like the foot, still crooked
from that blistering
Death in LA LA Land.

be. Death’s Bitter Butter
Death’s Survivance.

the Vellum’s grooves conceal
lumps and bumps.
bumps and lumps.
Inside are
Sketches for “mysweetheart” the drunk.

tracing over the paper
it was then that I came to realize that
the surfboard
he gave me
was intended to be used for a kind of waterboarding
he/they wanted to drown me out

when you are raised to fear water
you can never learn to swim,
just look at the mountains
as your body, slowly sinks.

when nature brought me to safety
I promised myself to live this next act
on my own terms
no longer assembling, and disassembling
my needs to the whims of others.

I sunk deeper into the blue hue
pollinating seeds
giving life to flora and fauna that had gone extinct
painted them as protective skins
as windows, as shields
with the seasons, until they became efflorescing pinks.
In the nude, I examined my body
watching the moon and the sun glare at me
together under one sky.
were they interrogating me?
holding me to task?
I could hear his voice:
“Unclench your fist”. It was my father.
I would fall, unbalanced to the ground.
Listening to the improvised instruments,
never to be ascribed to sheet music
I sunk into depths

But awakenings are a strange thing
I see me
for the first time
as mountain
A body with organs
A body with portals
A body that has the potential to transmit light

I turn to `he him’, and ‘they them’, and ‘she her
I slink myself around them and sing
Shower Me
SHOWER ME WITH ALL THE LOVE IN THE WORLD
I promise, I won’t say no, not this time.

O.Kholeif, 2025

Evi Vingerling, F.of.F., 2024, silica gouache op linen, 225 x 350 cm. Photo: Gert Jan van Rooij

“Vingerling’s paintings are quiet in their resistance; they are as solemn as they are proud. Take for instance her epic skyscape stretching out to the grand scale of a history painting at more than 3 and a half meters wide and nearly two and a half metes high. It is called F.of.F. It was completed in 2025. Reading the title, it reads like many things: F for Father. Yes, that is correct. But as an anagrammatic, “picture poem” to quote artist Fiona Banner, it is also a rejection of self, an admonishment to “Fuck off!” as it is a screech, “For Fuck’s Sake!” I cannot live like this anymore.

The charged vessel that occupies the ocular centerpiece here at first resembles a ship. One that has been charred from having moved through murky waters, through a trenchant ocean, carrying bodies, lives unload- ed, rebooted, some rescued, others that could not be saved. I flinch unexpectedly as I notice the stark contrasting blues in the base of the canvas. The pathways, the gangways: is this a sky, or a waterway? This mutable facet is left porous. It is an open-ended question. An opening that the artist invites the viewer to parse through. It becomes abundantly clear that this vessel, with its almighty heft that it is as much a tumor, as it is a remnant of pains lived, memories experienced, which Vingerling has excised, the wailing of a body that is no longer constituted as it once was. If my words read akin to a series of tongue-twisted similes, then perhaps it might be worth revisiting the physicality of Vingerling’s earlier paintings, her body of work, of her as a mountain, dancing, dancing, dancing.”

Photo: Fabian Landewee

Evi Vingerling, The Moon, 2025, tempra on panel, 35 x 40 cm. Photo: Fabian Landewee
Evi Vingerling, The Self, 2023, sea shells and glue, 10 x 7 x 7 cm. Photo: Gert Jan van Rooij
Evi Vingerling, Niks beklijft / Nothing Sticks, 2024, silica gouache on linen, 225 x 150 cm. Photo: Gert Jan van Rooij

1, 2, and 3

The edges
slip into me
Like a slick silkworm, this one made of silica.
The board slips, underfoot

She wept.
Amidst dandelions.
in the nest.
Thick fingers.
FAT as a Fat chip foothill.
WOMAN doormat.
WOMAN donut.

Who is this man who makes you tremble?

O.Kholeif, 2025

Evi Vingerling, Ball of Mystery 2, 2025, Indian ink on paper, 30 x 34 cm. Photo: Gert Jan van Rooij
Evi Vingerling, Ball of Mystery 2, 2025, Indian ink on paper, 30 x 34 cm. Photo: Fabian Landewee
Evi Vingerling, These Days (roses fade and petals fall), 2024, silica gouache on linen, 260 x 190 cm. Photo: Gert Jan van Rooij

“As you descend the staircase to the wallpapered rooms to examine the Chinese wallpapers, you will find hanging from an all-mighty hook, released from the wall supported by the wooden baseboard, Vingerling’s Reason for Living, 2024.

Vingerling’s vertical landscape is redolent of the California desert. It meets the eye with hues that soften and thicken along the expanse of the canvas. What at first may look like a forest-fir, could also be a cactus, co-habiting with the flesh of a palm-tree, with the swollen bodies of other plant-life, co-habiting in an endless web, in a life cycle. The journey of the cloudscape, of the body, of the mind, of the interior and the exterior self is part and parcel of what one might deem here to be an act of “survivance.””
Photo: Fabian Landewee

Evi Vingerling, A Reason for Living, 2024, silica gouache on linen, 185 x 145 cm

excerpts from GHOSTS SHELTERING BENEATH A CLOUD OF ENTROPY

by Professor Omar Kholeif PhD CFFRSA

For text in its entirety click here