Many have various perceptions of an artist. From styles to outlooks on society an artist can be so versatile yet relatable to a certain audience. Martin-Jan van Santen is an example of subtle realities with an artistic yet everyday flair. With a past as a cartoonist and animator, this man has shifted his talents towards oil painting. Fears left behind and intuition as his forefront, Martin-Jan van Santen combines his skills and eye for beauty in a collection of pieces that stand the test of time. Chasseur was able to connect with Martin in order to comprehend the inner workings of his innovative mind.
Is your work premeditated, planned or organized beforehand? Or is your work brought together all in one session?
My work is done very intuitive. Often I invite a model to pose for me, but only for a short while. I make some sketches and take loads of photos, and when the model is gone home, I will go and look from strong poses, or interesting images. It’s the only way I can really focus on my painting. Of course I’m missing the interaction between me and the model during the painting process, but I get total freedom in return. I seldom do anything with premeditated poses, make up or clothing. The photos I take depend on the model itself, the mood I’m in, the mood he’s in, the weather, and what else is setting the mood at that specific moment. Although the photos and sketches are made quite rapidly, the painting process will take much longer.
You have worked as animator, cartoonist and director prior to your career as an oil painter. What made you follow a more ‘traditional’ path in your art?
I made cartoons for ten years, but I really never saw me doing it my whole life. I didn’t really know what I wanted for a long time, until life itself forced me into another direction. Painting was always in the back of my head, but it was a hobby of mine: I never thought I could make a living out of it. Then crisis in the land of animation set in. At a certain moment I had nothing to lose anymore; doing unrewarding cartoon work for very little money, I thought I might as well become a painting artist, a job in which I probably wouldn’t make any money either, but at least I was doing something I liked. I took a leap of faith and luckily it is working out till now.
Boys and Bricks! How did you come up with the name and what’s the connection between them?
Boys and Bricks was the title of my first exhibition in Holland. I was presenting paintings of boys and cityscapes (houses). Those were the bricks. It sounded like a nice title, and I decided to give my website the same title. I still like it. Nowadays the chapter ‘Boys’ is still showing boys, while ‘Bricks’ is no longer associated with just cityscapes, but also still lives, landscapes, animals and other ‘daring’ projects.
Speaking of boys, you have such an eye for the male anatomy. Are there any specific body parts you find yourself most fascinated with?
The most fascinating about the male body are the belly and chest. I don’t really know why it is that intrigues me. Some people prefer the legs, or the bottom; I’m a ‘belly-man’, and sometimes a ‘chest-man’. I’m most interested in bodies that are muscular, but not too much. I love the subtle play of muscles beneath the skin. I seldom do six packs or bodybuilder-types. That’s way too much for me. I love to study the color and the light, and I never get bored in doing it again and again. But it’s not really about body parts. It is more about a good and interesting painting. I want the eventual image to be strong; more than a mere reference to a subject outside the painting, but actually become something that can ‘breath on its own’.
In your photos the models are very much at ease. What usually takes places prior the creative process?
That depends on the model. I always have a conversation with them, while I make some sketches, so I get to know them a little. Then I just start clicking, and ask them to sit down, stand up, etc. The first 50 photos never come off nice as the model is not yet at ease but after a while they relax and I make better photos.What also comes in handy are videos. I make a film while they pose in different positions, and afterwards I take stills out of the film. That way I have so much more material. It’s quite difficult to get a picture, in which they feel really comfortable with themselves, almost as if they forget they are on camera. There is no form of sensuality or overly sexual undertones in your work. It is truly an essence of simply being.
What inspires you to stray away from the expected and deliver such genuine work?
The answer is as simple as that; I paint what I find beautiful. And beauty for me is a simple thing. No show, no lies or pretending, indeed simple being there and being yourself in an honest way. That’s what I’m trying to capture. I’m not deliberately telling stories or use metaphors, or make statements about anything. I’m always asking myself: I find this beautiful, but what is it, that makes it beautiful? In that way I’m going for the core, the essence. That’s why I’m also careful with heads and portraits in a painting (except the ones on commission). Portraits always tell a story and the spectator immediately has its meaning about it: you like the face or not, and if you don’t, you don’t like the image. This goes for private parts too: Suddenly the painting is about the private parts. And that’s not what my work is about. I’m just trying to share the beauty I find in a male body with the rest of the world.
Is there a particular painting that you have a really strong connection with? Why so?
There is one. It probably doesn’t show, but in “Eager” (Graag), I discovered so much about color and light, and I was so happy with it, that I was kind of sad, that is was sold quite quickly. But it also confirmed my belief that it’s a special painting. To most people it’s probably just a torso, but on a second layer there’s a lot of daring things in color, that wasn’t in my paintings before. I think every once in a while you discover new things, and make a painting like that. What are your goals for this year? Well, it’s going to be a busy year. I have some exhibitions, and they require all new paintings. So I’m brushing like a madman. I don’t really have a goal, except, finishing them on time. I’m lucky to have these opportunities this year. It’s very difficult to find a gallery, which is willing to show male nudes, in Holland anyway. They all consider it to be ‘gay-art’ and don’t really take it seriously. I hope this will change in the future. The male body is way too beautiful to be ignored.