YohakuWhere the work lives →
YohakuWhere the work lives →
Living and working / Amsterdam
Born in Utrecht in 1986, Patrick comes from a family of artists. Growing up surrounded by art shaped not only his appreciation for painting, but also his belief that creating should come from intuition rather than intention.
Creating is the fire that drives Patrick. Painting, for him, is a search for feeling. His works evolve slowly through layers of color, texture and experimentation, without a fixed outcome. Rather than following a plan, he allows each painting to reveal itself over time. Silence, patience and observation are essential parts of his process.
Inspired by Japanese aesthetics and a deep appreciation for simplicity, Patrick transforms personal experiences into abstract paintings. Every work begins with his own story, while leaving space for the viewer to discover their own within it.
After three inspiring years on Mallorca, Patrick returned to Amsterdam, where he continues his artistic practice. The island became an important chapter in his development as an artist, and its influence can still be felt throughout his work.
For Patrick, every painting is an attempt to capture something that cannot be expressed in words: a feeling, an energy, or a moment that might otherwise disappear.
Amsterdam, visits by appointment
Interior architects and art consultants: terms and spec sheets on request
New work goes to the list first, before it is public.
Conversations about art and life
I like inviting people into my studio who inspire me. People from different worlds, with different stories, ideas and ways of seeing. We sit down, talk about life, creativity, art and whatever comes naturally.
PatrickYou’ve spent so much of your life surrounded by art. Can a painting still completely surprise you?
ErikAbsolutely. And perhaps in a different way than when I was younger. When you’ve seen a lot of art, you naturally build up knowledge. You recognize periods, techniques, influences and references. That knowledge is valuable, but there is also a danger in it, because you can start looking at art only through what you already know.
The most powerful moments are still the ones where all of that disappears for a second. You stand in front of something and before you’ve analyzed it, something has already happened. It catches you off guard. I think truly great art has that ability. It doesn’t ask for your permission or your understanding first. It simply enters.
PatrickThat’s interesting, because when I paint I’m actually searching for something similar. I can work on a painting for weeks, but if I don’t feel it, it doesn’t matter whether technically it looks finished. What makes you personally stop in front of a work?
ErikIt’s very difficult to define. Sometimes it’s something incredibly subtle. A certain tension in the composition, the way a color has been used, an imperfection, or even something that initially feels slightly uncomfortable.
Of course craftsmanship matters. But craftsmanship alone rarely makes me stay. I want to feel that there is a reason why this work exists. That the artist had to make it somehow. You can often sense the difference between a work that has been constructed intellectually and something that comes from a deeper necessity.
And perhaps the most interesting works contain both. There is intelligence and control, but also something that escaped the artist’s control.
PatrickDo you think we sometimes try too hard to understand art?
ErikDefinitely. We have become very accustomed to looking for explanations. We read the wall text before we look at the painting. We want to know who made it, when it was made, what movement it belongs to and what the artist was trying to say.
There is nothing wrong with that information, but I think it should come later.
Give yourself a moment with the work first. See what happens. Maybe you love it. Maybe you dislike it. Maybe it makes you feel absolutely nothing. All of those reactions are interesting.
Art doesn’t always have to be understood. Music is a good comparison. You can hear a piece of music in a language you don’t speak and still be deeply moved by it. Nobody asks you to explain exactly why before allowing yourself to feel something. I think we could sometimes look at paintings in the same way.
Selected publications
Shipping & privacy
Prices of editions and smaller works are shown in euros and include 9% VAT. Larger works are priced on request; the studio replies within a working day. After your request you are contacted personally with payment details and an invoice. A work is reserved for you once payment is received.
Every work is an original by Patrick van Riemsdijk, signed, and accompanied by a certificate of authenticity that states title, year, materials and dimensions.
I offer worldwide shipping. International shipments may be subject to customs duties or import taxes. Works ship from Amsterdam, insured. Studio pick-up by appointment is free.
If a work does not feel right in your space, you may return it within fourteen days of delivery, in its original condition and packaging, for a full refund of the purchase price. Return shipping and insurance are at your cost. Commissioned work cannot be returned.
Details you leave in a request are used only to answer that request, invoice and ship. If you join the list, your e-mail address is used only for letters from the studio. It is never shared or sold, and every letter has a one-click unsubscribe. Questions: hello@patrickvanriemsdijk.com.
Interior architects, art consultants and hospitality projects can request trade terms and specification sheets. Trade prices are quoted excluding VAT.