Krijn Kroes (11-08-1994, Zwolle) is a Dutch artist currently living and working in Utrecht. He graduated at the Fine Art department of Hogeschool voor de Kunsten Utrecht (HKU) in the year of 2020. My grandfather is a biologist and did bat research. As a kid I joined him to count bats. Bats would have their hibernation in a dark, empty bunker that is not visible to the public. I remember being scared but fascinated about the dark shallow corridors that we used to walk in, staring at the ceiling, our eyes focused on the small fuzzy bats that where deeply in their hibernation. This experience formed an interest for that what is − but isn’t always visible for the human eye. When we can’t see clearly, our mind has the propensity to fill in the gaps. The unknown might frighten us, but at the same time it is the natural tendency of the mind to seek for the unknown, to collect new information, knowledge, and experience. What is under the surface, what is hidden in the dark? A big interest in nature arose – aside animals a fascination for plants in particular. Referring to life and death, plants are like a connection to two different worlds or stages. Like in Maurice Sendak’s book 'Where the wild things are', plants arose like a dream. Attracted by the foliage of the creeping plants, into the night and the logic of dreams. Leaves forming beautiful shaped patterns creating a mesmerizing shadow play, reflecting and obstructing the light. The presence of light and the absence of light have a genuine impact on how we feel. As a child I couldn’t distinguish my imagination from reality. It is something that causes fear but is precious at the same time – something in which I experience genuine beauty. These experiences have strongly influenced my view towards the world. This led to a belief that beside our visible reality there are many others. This experience can manifest itself and resonate in various forms. In dreams, thoughts, through meditation, the use of mind-expanding substances, in nature, and the rapture you can experience in life. In a world where a lot of things feel fast and hollow, this is something in which I find genuine beauty, a layer of mysticism, a hint of the sublime. Based on this conviction, I search through my paintings and sculptures for the twilight zone between reality and the imaginary. Sometimes through recognizable symbols and rhythmic patterns, which I reinterpret or create my own, other times in abstract and biomorph shapes and colors. This allows me to respond to the world around me, as well as possibly come to a new reality. Aside from my substantive motives, my research focusses on the medium of painting, and how the formal aspects of a painting behave. How does a painting work? How does a painting reveal itself? What hides underneath the surface? A work can suck you in or push you away. When have I painted enough for the image to unravel? Like the way changeant silk can reflect the light, showing off a different color, image or reflection, the brush stroke is able to do the same. By playing with the direction of the brushstroke and the skin of the oilpaint, the light reflecting on it can break, or seem to move. Therefore, an image can look all black from a wide distance but reveal itself partially by moving closer. This research is also highly present in the medium of ceramics. The different glazes and forms can behave in a similar way and have a high painterly quality. For me this combination of mediums and techniques form a beautiful playground to discover the possibilities and boundaries of materiality, surface, texture, and light.