PAUL SMULDERS - Et Vice Versa 2022

Vice Versa Et

Viborg

Paris Roskilde

Kopenhagen 1997 Danish Connection

2022

Paul Smulders

Galleri NB

Det er ligegyldigt om jeg ringer til Paul kl. 9 om formiddagen eller kl. 18 om aftenen – Paul er altid i atelieret. Og han har altid tid til en snak om kunst.

Hans dedikation til kunstnerlivet er uovertruffen. Hver eneste dag søger han drømmen om at skabe maleriet, som kan opfylde hans drøm om skabelsen af det perfekte maleri.

At det er en uendelig proces, som aldrig slutter, siger måske sig selv, men for Paul Smulders er det netop det, der er drivkraften og det som kickstarter processen i hvert eneste nye maleri.

Det er utrolig spændende at følge Paul Smulders karriere, som flere gange har skiftet retning.

Vi har fundet hinanden i et skæbnefællesskab, der uanset de forskellige udviklingsstadier i Pauls kunstneriske karriere, altid har fascineret mig. Det har altid været utrolig spændende at følge Pauls skabende proces og opleve de berigende billedmæssige resultater af anstrengelserne. Resultater, som galleriet med stor fornøjelse, har kunnet præsentere på store soloudstillinger.

Jubilæumsudstillingen 1997 – 2022 er en bekræftelse af 25 års kunstneriske udvikling og professionelt samarbejde. Dat er en udstilling, som ikke alene samler op på og gør status. Det er også en udstilling, der peger ud i fremtiden.

Paul står netop nu på en kunstnerisk bjergtop, hvor han kan skue vidt og skimte nye bjergtinder i det fjerne. Tinder, som også skal bestiges. Jeg ser, at nye stadier i Paul Smulders karriere er på vej og jeg vil, sammen med mange andre, glæde mig til at følge med på rejsen.

Det har været en lykkelig rejse over 25 år og den må gerne fortsætte mange år endnu.

Thorkild NB Nielsen

NB,

Galleri NB

Whenever I make a call, it does not matter whether it is 9 in the morning or 6 in the evening, Paul is always at his studio. He always takes his time to conversate about art.

His passion for living life as an artist knows best, is extraordinary.

Every day he is prospecting for creation which can express his vision about a perpetration of the perfect painting.

Obviously this is an infinite process, however the drive itself is what ignites the process every single time he makes a new painting.

It is incredible exciting to closely follow Paul Smulders’ carrier including his change of direction.

Ever since we met, our destinies have been intertwined. I always come back to the first fascination about his creative process. Fascination has been preserved during the different chapters and steps within his development, and it has been rewarding to explore the imaginal results together. Results which Galleri NB has exhibited as grand solo shows, to my great delight.

This present jubilee exhibition 1997 – 2022 is a confirmation of 25 years’ effort and artistic development as well as a professional collaboration. At the same time, the exhibition points to the future.

At this juncture, Paul stands on an artistic mountain peak, looking ahead and scanning new peaks on the horizon. Peaks that will too be climbed. For me, it is clear that Paul Smulders’ carrier faces new chapters, and I, like many more people, will follow him on this journey.

So far it has been a joyful journey for more than 25 years, and may it continue to unfold many more years.

Thorkild NB Nielsen

Gasværk

Siden 1997, og endda før, har jeg altid husket på værdien af min introduktion til Danmark, hvilket kunstsamlerne Britta Thomson og Hartmut Abl stod for, netop da de opbyggede deres samling af mine værker i starten af 90’erne.

Fra den tid begyndte min horisont at udfolde sig kunstnerisk samtidig med, at den bevægede sig i en mere international retning. Galleri NB gav mig muligheden for at komm i berøring med mange flere kunstsamlere og kunstnere i både Danmark og i andre skandinaviske lande. Den ændring tillod mig at arbejde fra mit atelier i Amsterdam og have en daglig stabil rytme, hvilket for mig er en værdifuld og forudsætning for at kunne udvikle værker.

På udstillingen i Galleri NB samt i jubilæumsbogen ønsker jeg at hylde den dynamiske triangel, nemlig interaktionen mellem en kunstner, et galleri og kunstsamlerne. Gensidig inspiration og samarbejde er afledt af, at vi har lært hinanden at kende, hvilket har holdt ved i længere end et kvart århundrede.

Bogen inkluderer fotos, som præsenterer udviklingen i mit kunstneriske arbejde gennem de seneste 25 år. Den viser også billeder fra atelieret, udstillingstekster såvel som oplevelser med kunstsamlere samt galleriejer Thorkild NB Nielsen.

Dette er en hyldest til vores gensidige påskønnelse, venskab og tillid, som jeg har oplevet gennem tiden og som jeg er taknemmelig for.

Paul Smulders

From 1997, and indeed even earlier, I have always kept in mind, and have been very much aware of the importance of the introduction of my art in Denmark by art collectors Britta Thomson and Hartmut Abl, who started collecting my work in the early nineties.

From that time on, I started to broaden my horizon artistically as well as literally, internationally. Galleri NB gave me the opportunity to get in touch with many more art collectors and fellow artists in both Denmark and other foreign countries.

In large part, these opportunities also allowed me to be able to work in my studio in Amsterdam on a regular daily basis, which, for me, is a valuable, steady and important precondition to develop an oeuvre.

In the Galleri NB exhibition and in the jubilee book, I want to pay tribute to a dynamic triangle, namely the interaction between an artist, gallery, and art collectors. Getting to know each other, mutual inspiration and cooperation which has lasted over a quarter of a century.

The book includes photographs that show the developments in my art during the past 25 years. It also shows studio images, exhibition vignettes, as well as experiences of art collectors and gallery owner Thorkild NB Nielsen.

It is a tribute to the mutual appreciation, friendship, and faith that I have experienced during this time, and I am grateful for that.

Paul Smulders

Galleri

Hartmut Abl og Britta, kunstsamlere:

Hvis man kan åbne nogle døre for andre, så skal man gøre det. Da jeg [Hartmut] mødte Paul første gang i 1996, kunne jeg se, at der her var et potentiale. Hans ønske var at komme udover landets grænser i Holland, og jeg syntes bare, at jeg ville bruge mine kontakter og hjælpe ham. Jeg var meget betaget af hans malerier og som person var han utrolig flink og sympatisk. Paul gav mig en temmelig tung mappe med billeder i. Så gik jeg i gang.

Tilbage i Danmark viste jeg mappen til Thorkild, som har en god næse for kunst. Thorkild opsøgte efterfølgende Paul og de fik en aftale i stand om en udstilling i galleriet. I dag følger vi altid med i Pauls virke, og vi glæder os over, at han er så succesfuld.

Engang kom Paul og besøgte os i sommerhuset. Efter at have spist en frokost sammen, forsvandt han ind i huset i lang tid. For som han efterfølgende sagde, så er det en sjældenhed for ham at opleve sine egne malerier. Når de er færdige, forsvinder de ud af atelieret. Det betød derfor meget for ham at være i et hjem og se malerierne hænge og mærke de mennesker, som bor sammen med kunsten. For os var det betydningsfuldt at opleve kunstneren nyde dette øjeblik.

Billedkunst køber man ikke – det kommer til dig. Vi ejer derfor ingen malerier, som vi har fortrudt. Når vi kigger på dem, så er det med en følelse af aldrig at blive mættet.

I øvrigt er det en speciel oplevelse at opdage ny kunst og møde nye kunstnere. Som kunstner skal man huske at udvikle sig og ikke blive ved at lave det, man altid har gjort. Det er nøjagtigt, det vi ser, når vi følger med i Paul Smulders kunstneriske udvikling.

Hartmut Abl and Britta, art collectors:

If you are offered an opportunity to open some doors, do it. When I [Hartmut] met Paul for the very first time, I had the feeling that this artist had huge potential. He longed to burst beyond the borders of his country, the Netherlands, and that was when I felt a call to action. I was mesmerized by his paintings from the start and appreciated the kind and sympathetic person that he is. Paul passed his bulging case of paintings on to me, and then I started this quest. Back home in Denmark, I showed the work to Thorkild, who has a nose for these things. When it is clear that someone has even more to give than what

is shown, one can try to help out and maybe it will turn out as a success story. Paul and Thorkild got acquainted and that is how the first exhibition became a reality. Today we follow Paul’s work closely and we feel happy about how successful he has been and still is. Once Paul came to visit us in our home. One day after lunch, he disappeared for a long time, exploring the art in our house, many paintings made by him. He later told us, the occasion to have a moment like that is so rare because as a productive artist, he lets go of the art works immediately after he has created them. After that, they are just gone. Seeing many of his paintings hanging on the walls of our home and also knowing the people who purchased the works, was a profound experience for him.

A painting is not just something you buy, it comes to you. One can’t just walk into a gallery choosing that today is the day I will buy some painting. Seeing a piece of art and getting to know the artist behind it, that is a special experience.

As an artist, movement is crucial in order to develop and free oneself from same patterns. Paul Smulders is such an artist. Some art collectors come and some of them go. None of the paintings that we own have we regretted buying, and we keep looking at them with the feeling of never being saturated.

Thor Hampus Bank, kunstsamler:

Jeg har det sådan med kunst, at jeg kigger på det og fornemmer om det er æstetisk tiltrækkende. Om det så at sige vækker noget i mig, uden at det nødvendigvis er noget konkret.

Med Paul Smulders var det første der fangede mig faktisk malerierne med mennesker, fanget i, hvad der ligner, et moderne bylandskab.

Og her er hans teknik jo afgørende for udtrykket, der for mig giver en følelse af forgængelighed. Vi er her nu, og om 100 år er vi ikke.

Sjovt nok var det første maleri jeg købte af ham på 120x120 cm – helt uden menneskelige former. I hvert fald ved første øjekast. Jeg brugte kort efter købet en hel eftermiddag, i selskab med maleriet, en god gymnasieven og en kasse øl, på at studere og diskutere maleriet – og efterhånden begyndte atomstrukturer og geometriske former at afsløre nye lag, som jeg ikke før havde set. Det er en stor kvalitet ved Smulders’ malerier, som jeg sætter stor pris på.

Siden har jeg købt endnu et stort Paul Smulders maleri, denne gang med mennesker, og begge har en velfortjent plads på de største vægge i vores hjem.

Thor Hampus Bank, art collector:

The way I feel about art generally ties into sensibility and whether I perceive it to be aesthetically appealing. That feeling of something awakening within me, without necessarily coming from a specific place.

Paul Smulders’ works caught my attention because of the motif resembling people being encapsulated in a modern urban landscape. Here the technique is essential for the effect, and to me it touches upon everything being transitory. We are here now, and in 100 years we will not. I was a high school student the day I purchased my very first painting by Smulders. It was a 120x120 cm sized work, a motif without any traits of human beings. At least at first glance! Shortly after I bought it, I spend an afternoon with this painting, a good friend from high school and a case of beer. I remember us paying close attention to the painting while discussing it. Gradually, atomic-like structures and geometrically shapes appeared revealing several more layers, which had escaped me before. I find that a profound quality about Paul Smulders’ work – something I value a lot.

Since that time, I have bought another larger painting by him featuring human beings. Both paintings now hang on the biggest walls in our home, which is absolutely well-deserved.

Henning Fryd Christensen, kunstelsker:

I forbindelse med mit arbejde er jeg kommet en del i Amsterdam, hvor der jo bor mange mennesker på et lille areal. Jeg forestiller mig, at Paul Smulders har registreret en masse ansigter dér og fundet nogle ting i deres udtryk. Udtrykket i ansigterne, som jeg er faldet for, og kolorismen i billederne, synes jeg er inspirerende og stemningsfyldt. Kunst, det ser jeg som en måde at identificere mine omgivelser på. Jeg har tænkt over, når vi mennesker ser på hinanden, så gør vi os nogle forestillinger om vedkommende. Når vi så har en samtale, er det tankerne og fortællingerne der kommer til udtryk. Derved træder det visuelle ud af funktion og vores samtale bliver det primære. Pauls billeder af ansigter, er rundt om bordet og fremkalder minder om nogle, der ser eftertænksomt frem for sig, som et portræt af eksempelvis familiemedlemmer. Ansigterne er ”os og dem”, som Pink Floyd engang udtrykte det, og sidder lige hvor de skal i billedet. For mig er det hyggeligt at have de portrætter med omkring bordet – de bliver en del af middagen, samtalen og festen. Det er som om at de er en del af helheden.

Et af Pauls billeder, som har stor betydning for mig, er det som jeg fik af min kone i 50 års fødselsdagsgave. Det er et specielt billede, en slags collage, hvor The Beatles er hovedmotivet. Musik er en af mine store interesser, og derfor hænger maleriet selvfølgelig i musikrummet, hvor mine instrumenter bor. Jeg har mange malerier af Paul Smulders. For mig er billederne med til at skabe forbindelse. Et af billederne har et psykedelisk udtryk, som minder mig om 60erne og 70ernes eksperimenterende periode – der for mange blev skæbnesvangert og for andre bevidsthedsudvidende. At maleriets farver og udtryk, kan minde mig om en svunden tid, ja, så kan jeg vist ikke forlange mere.

Henning Fryd Christensen, art lover:

In relation to my work, I have been a frequent visitor to Amsterdam, where many people live in a relatively small area. I imagine that Paul Smulders has noticed many different faces in the city and found something in their expression, that inspired him to paint them. I find the expression on the faces that I have fallen for, and the colours in the paintings, inspiring and evocative.

I see art as a way to identify my surroundings. I have been thinking that when people look at each other, we draw some conclusions about

the person in front of us. When we have a conversation with that person, the thoughts and stories that are expressed, make the visual appearance diminish and our conversation becomes the primary focus. Paul’s paintings of faces, on the walls around the dining table, invoke memories of people who reflect about something, like a portrait of, for example, family members. The faces are “Us and Them”, as Pink Floyd once put it. They are placed right where they should be in that image.

For me, it is nice to have those portraits around the table as they then become part of the dinner, the conversation, and the party. It is as if they are part of the whole experience.

One of Paul’s paintings, which has a high value for me, is the one I got from my wife for my 50th birthday. It is a special image, a kind of collage, where The Beatles is the main motif. Music is one of my major interests, so obviously this painting hangs in the music room where my instruments live. I have many paintings by Paul Smulders. For me, the images help to create connection. One of the paintings has a psychedelic expression that reminds me of the experimental period of the 60s and 70s – which for many became fateful and for others consciousness expanding.

If the fact that colours and expressions of the painting, can remind me of a bygone era – well – then I can certainly not ask for more.

Fra en viborgenser og fan af Paul Smulders

Da jeg hængte Paul Smulders’ maleri op på kontoret og inviterede en kunde til et møde, skiftede mødets agenda omgående og blev i stedet til en samtale om kunst og livet.

Vores første private maleri af Paul købte vi i Galleri NB, som dengang lå i St. Sct. Mikkels Gade. Vi kalder det ”Dublomanden”. Det var de brune og gyldne farver med mange lag, som fascinerede os. Vi købte faktisk det lange bord af valnøddetræ, fordi det står godt til Pauls brunlige malerier. Der er samtidig et skib gemt i maleriet, og nogle gange kan vi ikke finde det, men så dukker det op igen af sig selv. Maleriet af Paul, der hænger ved lampen, kalder vi ”Fucking Spiderman”. Der er en edderkop som er på rov, når man ser nærmere efter. Gæster og børn og børns venner kommenterer positivt på vores malerier. Det er en stor glæde at opdage at flere generationer blive rørt af den samme slags kunst. Vores børn har sat deres navn på de malerier, som de gerne vil arve.

Det bedste ved Paul Smulders værker er, at man kan blive ved med at finde nyt i dem. Dét er derfor, det er fantastisk kunst for os. Jeg spurgte en gang Paul Smulders: ”What’s in a man’s mind?”. Han svarede mig: ”Hovederne kommer fra møder med mennesker, som jeg har mødt på vandbussen på vej til atelieret”.

Siden vores første møde med hans kunst, dengang han kom til byen, har vi fulgt ham og stopper ikke med at følge ham.

From a Viborg citizen and fan of Paul Smulders

Installing a Paul Smulders painting at my office before having a customer meeting resulted in a turnaround of the conversation, and we ended up talking about life and art.

When we purchased our first painting by Paul it happened at Gallery NB, which back then was located in Sct. Mikkels Gade. One painting we call “The Dublo Man”. It was the brown and golden colours and the perception of many layers that fascinated us. Actually we bought this table made of walnut wood, because it synchronizes well with the brown and golden painting hanging above. A ship is hidden in the landscape, and sometimes it is not easy to spot although it always appears after a while. Another painting of ours we call “Fucking Spiderman”. You will recognize that a spider is out hunting, if you take a close look.

Guests of us and especially our children feel connected with our paintings and comment positively on them.

The greatest thing about Paul Smulders’ works is that one can continuously discover new entities and details. To me, that is the very reason that I am finding Paul’s works fantastic. Once, I asked Paul Smulders:”What’s in a man’s mind?”. He answered: “The heads originate from my many encounters with people, when I cross the river on my way to work in my studio”.

Ever since our first encounter with his art in Viborg, we have followed him, and we will continue to do so.

FF Skagen, (Lars Leer, CFO), kunstsamler:

Oprindeligt blev dette rum designet til at afholde bestyrelsesmøder.

Min forgænger tog initiativ til at fortolke Grenen og landskabet i omegnen gennem Paul Smulders kunstneriske blik. Jeg er stolt over at fornemme hvilken positiv effekt det har haft og stadig har for mennesker, som kommer her. Når man træder ind i rummet bliver man hilst velkommen af maleriet som det første. Det er så stort, at man bliver nødt til at flytte øjnene og blikket for at se det hele. Ofte udbryder de ”Wow!” De imponeres af det storladne.

Når en kunstner som Paul påtager sig opgaven at fortolke Skagen, så forvandler han det. Men måden herpå er diskret. Ikke alle har set, at der også gemmer sig ansigter i maleriet. Og over tid begynder man at kunne se detaljerne i sandet og i vandet.

Når vi holder bestyrelsesmøder, ruller vi lærredet ned over maleriet, og når dagsordenen er færdig, ruller vi det op igen. Det giver en storslået effekt at se maleriet hænge der alene. Den røde tråd for os som koncern er eksklusivitet og kontinuitet, og Paul Smulders’ maleri fastholder visionen visuelt og beriger FF Skagen på mange planer.

FF Skagen, (Lars Leer, CFO), art collector:

Our room was originally designed for board meetings. My predecessor initiated this idea to interpret the habitat through the eyes of Paul Smulders. It is an honor to observe what great effects it has had and still has on our group. When our colleagues enter the space, the painting greets them as it is the first thing they see. They are impressed by its magnificence, and many times I have heard them sigh “Wow!”. Our care for Skagen is evident. Paul has transformed it in a way so that we can recognize and point out actual spots existing in the real environment right outside the window. However, when you look closely at the painting, you also discover details in the sand and in the water. During board meetings the white board hides the painting. Every time that gets rolled up, we see the huge painting alone on the stage, which has great impact. Exclusivity and consistency are important values for the group. No doubt, Paul’s painting reflects that same purpose. It has gifted us all with a red thread, visually and on many more levels.

Bak-Bak Nielsen og Åse Gade:

Hvem har egentlig forstand på kunst? Thorkild introducerede os til Paul Smulders malerier. Vi havde svært ved at finde det rigtige maleri, som både kunne passe til stuen og til det maleri, som vi i forvejen havde hængende. I Paul Smulders malerier har vi fundet en atmosfære, som vi kan lide. Som Monét er omfanget af detaljer rigt, og i naturligt lys opblødes farverne så visse områder så de bliver orange. De forskellige synsvinkler, som man kan betragte billedet fra, synes vi er fascinerende. Det deler vi med vores familie, som er vilde med billederne og forholder sig til dem, hver gang de kommer på besøg.

På en forårsdag som i dag, hvor solen står ind ad vinduerne, lyser maleriet ud i hele rummet. I mørkt vejr er det mere til den dystre side.

Derfor har vi sat spotlys på det ene maleri for at sætte lys på værket, når årstiderne skifter.

Vi er også naturmennesker, som kan lide at gå en tur i mosen og bemærke grenene, som ligger på jorden og i vandhullerne. Derfor hænder det, at vi nogle gange vi ser hans malerier for vores indre øje. Det føles nærmest som om, at biodiversiteten er til stede omkring os.

Bak-Bak Nielsen and Åse Gade, art collectors:

When it comes to art, who has the hang of it, really? Well, Thorkild introduced us to paintings by Paul Smulders, when we were searching for a piece of art for our living room that would complement another painting. What we truly like about the painting is the atmosphere. Like Monet, the range of details is rich, and in natural light, the colors soften. Some areas become orange. What we take with us from the painting springs from the very angle where we stand. We noticed one remarkable thing about Smulders’ paintings, that is that a broad spectrum of people resonate with them. We are pleased with the joy that it sparks for our family every time they come to visit us. It is nice to discover how they resonate with our taste in art.

On a Spring day like this, when sun hits the glass, the painting brightens up the room. In darker seasons, it becomes gloomier. We have installed a spotlight next to the painting to lit it up in darker times. As nature-lovers we often walk in the marsh. We see branches lying on the soil and also water holes. When walking in our habitat we notice the resemblance between nature and Smulders’ paintings. We carry the image of the paintings with us out in nature. In that way the biodiversity is surrounding us.

Art Herning

Ole & Kirsten Bech Jensen, kunstsamlere:

Vores store rum stod endeligt færdigt i 2008. Til de store, hvide vægge havde vi tiltænkt malerier, som skulle fylde rummene.

Vi var samtidig bevidste om, at vi ønskede at omgive os med kunst, som udstråler optimisme og glæde.

Da vi holdt vores datters bryllup i vores hjem med rød løber gennem huset og ud i haven, foregik receptionen i rummet her med malerierne af Paul Smulders’ otte ansigter som en slags vidner. Forskellen på et hvilket som helst abstrakt maleri og så Paul Smulders’ ansigtsmalerier er, at man kan nærstudere ansigtet som et genkendeligt motiv. For os er det spændende, at der er et flow af farver – at der virkelig sker noget. Den gule farve kommer i et slags efterslæb, så det er farvespillet mellem ansigterne som bliver dominerende. Først registrerer man, at der sker en hel masse, og bagefter fordyber man sig rigtigt i detaljerigdommen.

Der bor en særlig dynamik i malerierne, for når man står og arbejder på lang afstand i køkkenet, ser man det flotte perspektiv.

Man har det store overblik derfra, og går man helt tæt på, så forsvinder hovederne næsten.

Malerierne bringer en utrolig stor glæde i begge henseender.

Vi nyder at have dem hængende hver dag. Så værkerne har gjort det, som de var tiltænkt.

Ole & Kirsten Bech Jensen, art collectors:

In 2008, building these halls was finally completed.

We arranged huge, white walls for paintings with this scope.

We were conscious that we wanted to surround ourselves with art that emanates optimism and joy, we chose paintings by Paul Smulders. We celebrated our daughter’s wedding in these halls as well. We tried to be ready in time, and luckily, we succeeded, so the reception took place in front of Paul’s eight faces. They were sort of witnessing the wedding.

Making a distinction between abstract motifs and motifs showing a solid face is crucial, as they offer different qualities.

In Paul’s paintings of faces, one gets a chance to really scrutinize

the face and even get behind the meaning of a familiar motif. These paintings are conversation starters. During a dinner party, the inevitable happens that a discussion starts with the registration of the eye. We share what we observe in the painting and then the conversation can take many directions.

To us the flow of colours is an exciting part within Paul’s art. A lot is happening. The yellow colour kind of fades away, making space for the coloured faces to dominate in all intersections. At first glance, you register everything that is happening in the painting and later you can really dive into the abundance of details.

Dynamics encapsulate each painting. When working in the kitchen, you stand at a distance from the painting, and this perspective is rewarding. While approaching the painting up close, the faces almost disappear. The painting sparks great joy in both scenarios. The paintings have indeed lived up to our expectations.

Forstander Erling Joensen, Viborg Idrætshøjskole

Vi finder mange ting i maleriet af Paul Smulders. Ikke alene klare farver, men også stor dybde og mange lag og spor af mennesker. Paul Smulders’ maleri hænger på Viborg Idrætshøjskole, fordi de mange unge elever i overført betydning sætter deres fodspor på højskolen. De knytter værdifulde venskaber på dette sted. Og ligesom N.F.S. Grundtvig var optaget af, hvad der får en flok individuelle mennesker til at hænge sammen, så gælder det samme hos os.

Det er værdifuldt for os mennesker at se på god kunst i hverdagen. Ikke mindst fordi fællesskaber blomstrer i kunstneriske miljøer. Af den grund har vi valgt at installere Paul Smulders maleri hos os på Viborg Idrætshøjskole.

Principal, Erling Joensen, Viborg Idrætshøjskole

There is a richness in the painting of Paul Smulders. Clear colours, depth, layers and an abundance of people who leave traces. Each of us comes with many layers. At Viborg Sport Højskole many young people come to live there for a while. When doing so, they also leave a mark by the steps they take. Valuable relationships are cemented in this very place. The thinker N.F.S. Grundtvig was occupied with what makes a group of people stay together and so are we. For human beings it is valuable to be surrounded by quality art every day. Communities flourish in artistic environments. Paul Smulders’ painting is installed at Viborg Idrætshøjskole for that very reason.

Ullits & Winther (Henrik Lundsgaard), kunstsamler:

Når jeg udser mig et kunstværk, vurderer jeg dybden i værket, farvesammensætningen og motivet. For mit vedkommende medfører kunst på væggene glæde ved dagligt at se på værkerne. De bidrager til en god oplevelse for alle os, som opholder sig i bygningen. Betydningen for medarbejdere på arbejdspladsen og for kunderne som kommer på forbi, vil afhænge af hvordan den enkeltes interesse for kunst ser ud. Det er et personligt anliggende. Selv efter mange års ejerskab, finder jeg lige stor glæde ved at betragte værkerne. Det ser jeg som en stor kvalitet ved Paul Smulders’ arbejder.

Ullits & Winther (Henrik Lundsgaard), art collector:

Usually when I am looking for a piece of art, I consider the depth of the work, the combination of colours and the design. To me, noticing the paintings on the walls causes happiness every day. Each painting contributes to a nice atmosphere in the building for all who work here to enjoy. How we connect with art and what qualities we associate with being surrounded by it, varies a great deal – for employees and customers. Even though I purchased the paintings a long time ago, I still find great joy in observing them. That is a personal matter. I find that to be the profound quality about Paul Smulders’ works.

Publications

1999 Catalogue “Paul Smulders”, published by Galleri NB.

2000 Catalogue “Capita”, published by Galerie Willy Schoots, The Gallery and Galleri NB

2001 Catalogue “Untitled”, published by Galleri NB. ISBN: 87-90832-11-6

2008 Book: “Paul Smulders, Paintings/Malerier”, published by Galleri NB/ Paul Smulders. ISBN: 87-90832-30-2

2010 Catalogue “Relikvie Mortum”, published by Galleri NB, Viborg Denemarken ISBN: 87-90832-72-8

2022 Book: “Et Vice Versa”, 25 years of Danish connection, published by Paul Smulders/Galleri NB. ISBN: 978-90-825551-1-0

Work in public collections

Brøndby, Kunstsamling Dansk Idræts Forbund Aarhus, Kunstsamling Danske Trælast Datacenter Kopenhagen, Kunstsamling Dansk Synskirurgi   Viborg, Kunstsamling Nykredit

Viborg, Kunstsamling Inner Circle  Års, Kunstsamling Sparekassen Himmerland Frederikshavn, Frederikshavn Gymnasium Tjele, Kunstsamling Agro Business Park Viborg, Kunstsamling Ullits & Winther, Herning, Kunstsamling Herning Shipping Viborg, Kunstsamling Genan Sunds, Kunstsamling Reklametryk Herning Viborg, Kunstsamling Revisionsfirmaet Lars Olsen Aarhus N, Kunstsamling Rambøll Randers, Kunstsamling Kristelig Fagbevægelse Odense V, Kunstsamling NeoProcess Aarhus, Kunstsamling Suzlon Energy Åbyhøj, Kunstsamling TimeXtender Roskilde, Forum Advokater

Hamburg, Kunstsammlung Grundfos A/S Stavanger, Stavanger Kommunale kunstsamling Frankfurt am Main, Schoelzel Moehring GmbH Skagen, FF Skagen A/S

Skals, Kunstsamling, KB Transportbånd Viborg, Kunstsamling, Group Nordic Herlev, Kunstsamling, Webtop Technology

Viborg, Kunstsamling, HOME Roskilde, Kunstsamling, Tommy V. Christiansen Holbæk, Kunstsamling, STENHUS Gymnasium & HF Bjerringbro, Kunstsamling, Grundfos

Viborg, Kunstsamling, Agerkilde Lyngby, Kunstsamling, Azelis

Viborg, Kunstsamling, Viborg Gymnasium & HF

Viborg, Kunstsamling, BAN International Viborg, Kunstsamling HMN Naturgas Kolding, Kunstsamling, ASE

Fredericia, Kunstsamling, OPAL-SERVICE Silkeborg, Kunstsamling, Kingo Karlsen

Exhibitions (Solo)

2022 Et Vice Versa, Galleri NB, Viborg, DK

2021 Apophenia,Galleri NB, Viborg, DK

2019 Wandering the Unknown, Galleri NB, Viborg, DK

2016 Reflections, Galleri NB, Viborg, DK

2015 Inside Outside, Galleri NB, Viborg, DK

2013 Serendipity Yours, Galleri NB, Viborg, DK

2012 Kunstgalleriet, Stavanger, N

2012 Galleri NB, Viborg, DK

2011 Brushdays, Galleri NB, Copenhagen, DK

2011 Landmarks, Galleri NB, Viborg, DK

2010 Urban topics, Galleri NB, Gasvaerk, Roskilde, DK

2010 Art at Tradition, Beaufort House, London, UK

2009 Kunstgalleriet, Stavanger, N

2008 Galleri NB, Viborg, DK

2007 Galleri NB, Gasvaerk, Roskilde, DK

2005 Galleri NB, Viborg, DK

2004 Galleri NB, Gasvaerk, Roskilde, DK

2003 Galleri NB, Viborg, DK

2002 Galleri NB, Gasvaerk, Roskilde, DK

2001 Galleri NB, Viborg, DK

2000 Galerie Danoise, Paris, F

1999 Galleri NB, Viborg, DK

1997 Galleri NB, Viborg, DK

Exhibitions (Group)

2022 Art Herning Art Fair, Galleri NB, DK

2022 WAOU 2022, Galleri NB, Viborg, DK

2021 WAOU 2021, Galleri NB, Viborg, DK

2020 WAOU 2020, Galleri NB, Viborg, DK

2020 Art Herning Art Fair, Galleri NB, DK

2019 Art Herning Art Fair, Galleri NB, DK

2018 Art Herning Art Fair, Galleri NB, DK

2017 30 Years Jubilee Exhibition, Galleri NB, Viborg, DK

2017 Jam, Galleri NB, Viborg, DK

2017 Art Herning Art Fair, Galleri NB, DK

2016 International Billboard Painting Festival, Viborg, DK

2016 Art Copenhagen, Art Fair, Galleri NB, DK

2015 GRAFO gallerija, Vilnius, LT

2015 Art Copenhagen, Art Fair, Galleri NB, DK

2015 Art Vilnius, Art Fair, Galleri NB, LT

2015 Art Herning, Art Fair, Galleri NB, DK

2014 Art Herning, Art Fair, Galleri NB, DK

2013 Art Vilnius, Art Fair, Galleri NB, LT

2013 Art Herning, Art Fair, Galleri NB, DK

2013 In Between Trees, Galleri NB, Viborg, DK

2012 Art Herning, Art Fair, Galleri NB, DK

2012 Art Copenhagen, Art Fair, Galleri NB, DK

2011 Art Herning, Art Fair, Galleri NB, DK

2011 Art Copenhagen, Art Fair, Galleri NB, DK

2010 Art Herning, Art Fair, Galleri NB, DK

2010 Relikvie Mortum, Galleri NB, Viborg, DK

2010 Art Copenhagen, Art Fair, Galleri NB, DK

2009 Art Herning, Art Fair, Galleri NB, DK

2008 Art Copenhagen, Art Fair, Galleri NB, DK

2007 Art Herning, Art Fair, Galleri NB, DK

2007 Art Copenhagen, Art Fair, Galleri NB, DK

2006 Art Copenhagen, Art Fair, Galleri NB, DK

2006 Marienlyst Castle, Helsingore, DK

2000 Summer Exhibition Galerie Danoise, Paris, F

1999 ART Copenhagen Art Fair, Galleri NB, DK

1998 Art Herning, Art Fair, Galleri NB, DK

1997 ART Copenhagen Art Fair, Galleri NB, DK

1996 Galleri NB, Viborg, DK

Colofon:

Publisher: Galleri NB, Viborg, DK Paul Smulders, Amsterdam, NL

Text: Thorkild NB Nielsen, Paul Smulders, several Danish art collectors

Editorial coordination: Majken Rosenquist

Photography: Kees Kuil, Kurt Nielsen, Philip van Tol Larissa Ambachtsheer

Concept & Design: Philip van Tol, Amsterdam Printing: Tuijtel

Special thanks to Olga Smulders and Tom Beazly

© 2022 Galleri NB Viborg and Paul Smulders

All rights reserved

ISBN: 978-90-825551-1-0