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Noud van Dun (Venlo, 10 april 1963)is a dutch painter currently living and working in Amsterdam. Van Dun studied at the Academie Beeldende Kunsten Maastricht (1984-89), Jan van Eyck Academie in Maastricht (1989-90) and The Ateliers 63 in Haarlem (1990-92). Van Dun won the Koninklijke Subsidie voor vrije Schilderkunst in 1995 and in 1992 the Van Bommel Van Dam Prize.

About his work

Van Dun`s development as a painter is characterised by a cluster-shaped pattern of different styles and material usage. Altough on the outside seemingly inconsequent underneath the surface there is this one idea evolving along with his personal development. Van Dun shows great skill in mastering different techniques .

At the heart of his works lies the fact that they are constructed from contradictions. Combinations of matters that in our daily reality barely appear to have anything in common, but do in fact have a relationship. Van Dun: "My work is about everything. They are fragments from a very complex and infinite network of phenomena that occur in everyone's lives and of which every individual imagines themselves to be the centre." We experience most phenomena as normal because they occur in what is, for us, a familiar context. In Van Dun's work, a shift actually takes place. Things no longer occur in a familiar environment, but are transferred to a different place. Viewers are forced to re-adjust their perspective, look at things from the other side and to let go of the familiar. Van Dun creates a new order that, in the first instance, appears strange but, upon closer inspection, does not essentially differ from what we experience as logical and coherent on a daily basis. However, with the difference that there is an opportunity to delve deeper and penetrate the underlying structures and/or discover cohesion between what we ordinarily consider as contradictory or strange. The shift in meaning creates an openness that provides space for further association and the boundaries of the painting are, as it were, broken down. These boundaries can be seen in many works as a framing and serve to emphasise the fact that each canvas is a fragment of a greater whole. It is down to the viewer to determine to what extent he can think outside the frame, and see the wider context in which it all takes place.