Henri Jacobs writes about this to Han Schuil : “One boldly folds the aluminum like a garment, the other cuts the paper into strips and weaves them together again to utilize the recto-verso properties of the two-dimensional surface. For one, the aluminum is almost a reference to a high-tech screen with floating rectangular text bars but without text, speechless text bars.” And: “You paint light blue or orange shards as if a sculpture has fallen and shattered. I create shards by interweaving geometric patterns, creating a fragmented image through chance. We’re both fascinated by the phenomenon of iconoclasm; anyone who is even remotely a painter should be an iconoclast…”

Where Henri Jacobs explores the surface of the drawing Han Schuil attempts to capture the absolute, to penetrate the mystery of life and death. In the gallery exhibition, Henri Jacobs’s interwoven drawings are presented in partitions perpendicular to the wall that contain a window displaying his pleated drawing making both sides visible. Between the partitions the paintings by Han Schuil are placed together with further drawings by Henry Jacobs. Besides this an elongated leporello drawing of a mountain range by Henri Jacobs is shown and as a pendant a long horizontal painting on shaped aluminium by Han Schuil.