Whereas initially, Paul van Rijswijk (1965) chose unpretentious materials such as MDF and blockboard, in recent years he has often experimented with plaster and recycled fabric. The playfulness that he is looking for is curbed by a nearly indestructible need for rhythm, proportion, and subtle (a)symmetry. In the sculptures he creates, and within his self-imposed limitations, he manages to come to an almost endless series of variations in form and structure. Simplicity thereby forms the guiding principle.
Independent of size, all of his works possess an architectural monumentality, but at the same time they are fragile and poetic. Moreover, it is not only aesthetics that Van Rijswijk is after. In almost all of his sculptures, there is something that raises questions, something that raises tension or friction. He is constantly looking for those tension fields.
It would be a misunderstanding to think that his aversion to pretension entails that Van Rijswijk proceeds uncritically, on the contrary. During the work process the artist makes rigorous considerations, setting a high standard. Before he makes his sculptures public, they have to stand up to his scrutiny, and if they don’t, he just breaks them down again – seeking out new paths.