The Artistic Practice of Ton Slits

Born in 1955, Ton Slits has developed a practice that refuses to be confined to a single medium. Working from Cadier en Keer, where he both lives and maintains his studio, he navigates the boundaries between the two-dimensional and the three-dimensional. His output is diverse, spanning the meticulous construction of collages and the layered application of paint. These works often possess a strong spatial character, suggesting a physical presence that extends beyond the surface of the canvas.

Beyond the private confines of the studio, Slits engages with the environment through spatial work. His practice includes the creation of installations and the development of works intended for public spaces. This movement between the intimate scale of a painting and the expansive nature of public intervention defines his professional trajectory. He is currently represented by the Marieke Severens Gallery.

Technique and Visual Language

The work of Ton Slits is defined by a distinct spatial character, moving beyond the flat surface to engage with the environment. His practice encompasses paintings, collages, and installations that occupy physical space with intention. This approach creates a tension between the object and the viewer, demanding a specific type of engagement. He does not rely on traditional perspective alone; instead, he utilizes a contemporary visual language that draws heavily from the digital age. By incorporating elements derived from computer games and various icons, his compositions reflect the hypervisual nature of modern life.

This reliance on a modern lexicon of symbols serves a purpose deeper than mere aesthetic imitation. The formal language he employs fits within a specific range of icons, using familiar digital shorthand to prompt a more careful observation. He challenges the viewer to look attentively, pushing past the immediate recognition of a shape or symbol to consider what lies beneath. There is a persistent inquiry into the meaning hidden behind the external appearance of his subjects. The surface is a starting point for an investigation into how we perceive meaning in an era of rapid visual consumption.

Exhibitions and Gallery History

The trajectory of Ton Slits's exhibition history reveals a steady presence within the Dutch and German gallery circuits. His work has been frequently presented in Amsterdam, notably through several engagements at Galerie Bart. In 2015, he participated in a duotentoonstelling with Aldwin van de Ven at the same venue, followed by the IMPORTANT CIRCLE exhibition in 2016. By 2019, his presence in the Amsterdam scene continued with a duotentoonstelling alongside Karin van Dam.

His reach extends into significant institutional settings and cross-border collaborations. In 2015, he was included in the STARWORK exhibition at the IKOB Museum für Zeitgenössische Kunst Eupen in Belgium. This period also saw him participating in ENTLANG DEM RANDE DES MONDES, a project that brought his work to both the IKOB Museum and the Museum van Bommel van Dam in Venlo in 2009. That same year, his work was featured at the Eurode Bahnhof, Forum für Kunst und Kultur in Herzogenrath, Germany, and at KUNSTDAGEN WITTEM in the Netherlands.

Earlier and later milestones further define his professional path. He exhibited at Galerie Stevens in Maastricht in 2010, marking a consistent engagement with the regional art landscape. His career has been characterized by these varied settings, moving between the intimate scale of local galleries and the broader scope of museum exhibitions.

Museum Collections and Presence

The presence of Ton Slits in institutional settings reflects a career deeply rooted in the cultural landscape of the Netherlands and Germany. His work is held within the Museum van Bommel van Dam in Venlo, a connection that was furthered in 2011 when he held a live atelier at the same institution. This period allowed for a direct engagement between the artist's process and the museum environment, marking a significant moment in his professional trajectory.

His exhibition history includes various notable appearances in regional museums and galleries. In 2012, he participated in the WIR SIND SO FROHLICH (Objects) exhibition at SCHUNCK* in Heerlen. This was followed by his involvement in the OBJECTS #2 exhibition at the Gouvernement aan de Maas in Maastricht in 2013. In 2016, his work was featured in the AANDACHT exhibition at Missiekapel Heythuysen, and later, in 2018, he was part of the WIE WAT WAAR exhibition at ECI Roermond.

The reach of his work extends across the border into Germany, where his presence has been established through several curated projects. In 2017, he was included in the SCHWEBEN STATT STÜRZEN exhibition at Raum fur Kunst in Aachen. That same year, he participated in the 19x klein, 1x groß, 20 Jahre Aachener kunstroute. These appearances in Aachen and other European venues underscore a steady, measured presence within the contemporary art circuit.