Corné Akkers’ practice explores light, composition, and technical precision through influences ranging from nature to cubism and art deco.

Since I have been drawing from age 2 this is the most natural process to start off with. Drawing allows me to test whether an idea will work or not very quickly. Defining the composition comes first, then come proportions. I consider colour always an option over tones. Hence, my drawings are mainly in black and white. The best ones I execute in oil and pastel, testing their artistic qualities in colourful relationships.

I have many paths to follow but the main theme is always the light. How it falls on an artistic motif is more important than what I paint or sketch, whether I style it cubistically or finish it off in a more realist way. That is why I visit nature as much as I can, especially to study sunlight shattered through trees. For that matter I also look at a lot of art deco photos lately, see how photographers back in the day used those lovely razor lights over models.

As to what my work is about and the message, initially I pursued a different kind of career than going to art school, even though that would have been the most logical step to take back in the 80s. I simply didn’t want to have someone touch my art and back then (and still now) art school isn’t about techniques anymore. I’m a technical guy and therefore always figurative. I like correct anatomy and a carefully applied lighting for example. Add my urge to fine details things like Jan van Eyck would, then you will understand what my work is about. It’s atypical, not ‘of these times’, aesthetic and most of all, I want to convey both skills and a narrative, whether it’s sheer styling or a more complex one. I don’t like the fact that media, such as t.v. shows people with hardly no skills at all nowadays. I want to restore that, offering people something to admire and wonder how it’s made, just as I have done and still do with artworks before W.W. II when skills and meaning where in perfect harmony.

It doesn’t play a role, since I have become art and art became me. I have no private life and no business life: from dusk till dawn. That means I create (and teach) and in my days off I visit museums. Consider it ‘Continuing Professional Development’. Whereas for other visitors it’s for fun, it’s work for me. I like both contemporary art as traditional art but if I were to name a favorite, that would be art by modernists (1880 - 1940).

“Your art doesn’t look like anything”. That could be taken both as an insult and the most dear compliment someone ever could have given.

My personal environment consists of a couple of most dear friends and parents (still going strong) but most of all my 80 weekly students. All of them seem to like my art. Some of them have bought my work. That’s how it started for me and I guess, most of us artists.

My personal environment consists of a couple of most dear friends and parents (still going strong) but most of all my 80 weekly students. All of them seem to like my art. Some of them have bought my work. That’s how it started for me and I guess, most of us artists.

Aesthetics, such as the beauty of the female body. Also geometric styling which I admire in cubist and art deco art. My value added is combining those two, together with the light. On the other hand since 20 years I have been developing my surrealist side as well and this can deliver me most detailed artworks. Sometimes those two cross over and I haven’t got a clue what they will do with each other in the future.