|The Hague, 08 - 12 - 1925
Training: Koninklijke Academie voor Beeldende Kunsten, The Hague
1957 - 1972: lecturer at the Arnhem Academy
1958 - 1960: fundeer of the Dutch Informele Group, together with Kees van Bohemen, Jan Henderikse, Armando and Jan Schoonhoven.
1958 - heden: numerous exhibitions by Peeters, especially within the context of group exhibitions, boot national and international (see list of exhibitions for full survey)
1960 - 1965: founds the NUL group together with Armando, Jan Henderikse and Jan Schoonhoven.
1965 (on a Monday morning): Peeters puts all his remaining work of art, as far as still in his possession, in the garbage.
1997 - heden: the'Koetekendagen' (Cow sketching days) (1997) in Galerie de Boer-Waalkens herald a new era in his work: 'Henk Peeters Tastbaar'.
Henk Peeters lives with his wife, photographer/visual artist Truus Nienhuis, at Leusveld House, Hall, Gelderland.
|K. Schippers wrote about Henk Peeters at the occasion of an exhibition (1974) in the Collection d'Art gallery:
'Hairs and cotton wool date from later period of our history. And such materials as plastics and artificial grass are only recent additions to our environment.
Peeters has basically done on more than slowing us his personal choices. Water was wrapped, light was allowed its reflection, and the effects of fire remained visible, even after the flames themselves has been extinguished.
Cotton wool disappeard - but remained visible - behind nylon tissuue, hairs were somethimes incorporated in a ponytail, and the artificial grass was stretched over a piece of board.
Peeters has somethimes been characterized as the least conspicuuous member of the Nul group. And in a sence this is true. Armando drew attention through the audacity of this bolts, barbed wire and clinched metal sheets. Schoonhoven excelled in thuis command of white, light and shadow. And even Jan Henderikse made, during his brief period as a member of the Null Group, a striking impression with his beer crates and sheets of stamps, series of endless repetitions that had clearly been taboo until then.
Looking back, it seems as if Peeters with his soft materials, without drama or affectation, has remained closest to the conspiucuous reality of everydag life, without any attempt at storytelling. No personal histories, nor the usual didactics like 'come and see what you have never seen before'. And although the latter can hardly be entirely avoided, it is clear that Peeters must have made a conscious attempt to do so.
When looking at one of Peeters' reflection paintings or cotton wool pictures, pyrographies or artificial grass boards, this becomes abundantly clear.
"At first sight the image conveys so little meaning that, no matter how hard one tries, it seems to evade the memory before one has even had the change to look at it closely.
This leands his work a strange and special tension. For a moment we become aware of the real lack of attention with whiche we usually look at our surroundings, how we are only struck by the most spectacular events."...
'How now looks at his work, cannot fail to notice the considerable impact which Nul (or in this case Peeters) has had on the later generation of painters of Boezem, Dibbets and Van Elk. As to Peeters himself, for him Nul became a real advernture when it seemed the there might be a transition from objects to situations. However, the group broke up before this was put in practice. The plans were there, even in the early days, when Peeters intended to fill the Amsterdam Stedelijk Museum with artificial fog. However, to do so would have involved enorous quantities of paraffin and Sandberg was rather too concerned about his Van Gogh"...
Pure and inspired - such would be fair description of Peeters' work. Personally, he has now lost touch with this phase. "Te be quite honest, I have come to prefer the newspaper to the Museumjournaal.
In the end real life is more interesting than art.
This is where Nul once started. It is a natural conclusion that it should also end there. Perhaps I have been the most consistent realist within the Nul movement. For me, in the end, art and life are really one and samen thing. And than you ask yourself what is there left to make after all? It is already there, isn't it?"