Technique and Artistic Style
Maurice Thomassen challenges the borders of painting through a collision of innovative and traditional materials. He works with a diverse palette that includes coffee, silicone paste, tempera, acrylics, oil paints, and veneer. The process is physical and additive. He glues specific elements onto the canvas and prints certain components beforehand to integrate them into the composition. Sometimes he washes paints directly into an unprepared canvas, allowing the pigment to interact with the raw surface. Each piece develops step-by-step, building up numerous layers that give the work a dense, structural presence.
The conceptual origin of a work often begins far from the canvas. Maurice Thomassen frequently starts a painting or a series using newspaper clippings or other media image material. These fragments act as the foundation for the visual narrative. By using these specific materials, he anchors his compositions in current socio-political or controversial issues. The resulting layers of paint and collage transform these media references into complex, multi-dimensional objects.
Places of Activity and Representation
The artist operates across two distinct urban landscapes, splitting his time between Brooklyn, NY, USA, and Rotterdam, NL. His creative practice finds its physical anchor in Brooklyn, where he maintains a studio and continues his work. This dual existence bridges the Atlantic, connecting the Dutch art scene with the American contemporary landscape.
Representation is handled by NL=US Art. His presence in the international art circuit is established through exhibitions held around the world. These displays have brought his layered, material-heavy approach to various global audiences, moving beyond local boundaries to reach private and public collections across different territories.
Where to See the Works Today
Thomassen’s presence in the art world moves between the quiet halls of institutional collections and the specific, temporary energy of international exhibitions. His pieces reside within both private and public collections, scattered across different geographies. In the Netherlands, the Museum van Bommel van Dam in Venlo maintains a significant presence of his work, holding several of his pieces within its holdings.
The museum serves as a recurring site for his visibility. It hosts his work in major thematic presentations, such as the group exhibition "Grey! Art on Aging," which runs from January 24 to June 14, 2026. This exhibition places his contributions alongside a diverse range of international contemporary artists, exploring the complexities of aging through various media.
His reach extends beyond the borders of the Netherlands. In 2015, his work was part of the "Memory of Beautiful Horror" exhibition held at the Dominican Embassy in New York. This moment marked a specific point in his exhibition history, situating his practice within the context of global dialogue in a major metropolitan center.
