Studio visit Tycho van Zomeren
In the heart of Utrecht, nestled in a quiet studio, we were warmly welcomed by Tycho van Zomeren. Surrounded by works—from rough sketches to nearly finished paintings—he guided us through his space, offering a unique insight into his process. As soft winter light streamed through the windows, we spoke about control and surrender in painting, the balance between abstraction and realism, and the inspiration he draws from nature.
What follows is an open conversation about Crossing Currents, his working methods, and the nuances of his painting techniques. Van Zomeren: “I always try to stay open to what emerges, not just what I initially envisioned.” Curious to learn more? Read on for the full interview.
Crossing Currents is about the interplay between control and surrender. How do you personally experience this balance while creating your work? Are there moments when the unexpected makes your work stronger?
“My process starts with the unexpected—the moment I see something and get a new idea. I write it down or take photos with notes. A painting usually brings together multiple ideas. I always work according to a plan from start to finish, but within that framework, there’s plenty of room for the unexpected. There are often surprises in the painting process—things always turn out slightly different in reality than they were conceived. I always try to stay open to what emerges, not just what I initially envisioned. I’m inspired here by the ideas of the American psychologist Ellen J. Langer.
In some of my latest paintings, I work in a way where I only have indirect control over the textures that develop in the background. Yet, I still experience a great sense of control. It’s up to me to respond to what appears—or consciously decide to leave it as it is, because sometimes it adds something valuable.”
Photo: Tycho climbs the ladder to dive into his archives.
You have a distinctive style that combines elements of abstraction and realism. How do you decide when a piece becomes more abstract or more realistic? Or do you let this evolve organically?
“I determine the level of abstraction or realism from the moment I compose the painting. I also think about how the painting will be built up—whether it should be painted more roughly or more finely, and the degree of recognition and detail it should have.
For example, the painting Reflection is more abstract because it’s based on reflections in water and explores the concept of reflection itself. I also want to hold up a mirror to the viewer and create more space for personal interpretation, and abstraction helps with that. The level of contrast is something I often refine to make certain areas sharper or softer. In my compositions, I frequently leave out elements to engage the viewer’s imagination—it’s always a cropped section of a larger whole.”
Photo: ‘Reflection’ on the left side.
The movement of paint in this series appears natural yet is precisely guided. Can you tell us about the techniques you use? How do you experiment with new methods in your work?
“I use a variety of techniques—perhaps more than one might expect. Sometimes, paintings that look similar at first glance are actually created with completely different materials. I find this intriguing—thinking about how something is painted. Sometimes, things are painted in a completely different way than they appear.
I usually create the colour gradients in the backgrounds with acrylic paint and a large brush. This requires a lot of focus because the paint dries very quickly. I then repeat the process with several semi-transparent layers on top of each other to give the background depth and complexity. Within the gradient, I experiment with different pigments and the order of the colour layers. Much of what I do is subtle, but it still has an effect.
Right now, I’m particularly focused on developing different backgrounds with layers of ink, which I let dry very slowly so that the various pigments in the ink separate. I’m also experimenting with the shapes of the gradients in the background and combining gradients in different directions.”
“I use a variety of techniques—perhaps more than one might expect.”
Photo: Tycho giving us a sneak peek into his process while working on a new painting.
Nature plays a significant role in your inspiration. Are there specific moments or places in nature that are particularly meaningful to you?
“I always try to find beauty in every moment. I often ask myself: What is unique about this moment? Sometimes, a grey day can be inspiring. But I’m also always captivated by sunsets, no matter how many I’ve seen. The interplay of colours is fascinating. Every season, every weather condition, and every location offers a new version of the same phenomenon.”
The works in Crossing Currents invite reflection. What emotions or thoughts do you hope visitors experience when they view your work?
I want to evoke a sense of freedom and wonder, and the peace to explore. I hope my work has a meditative quality. Furthermore, I want people to immerse themselves in it and find new thoughts within it. What those thoughts are is entirely open, but I hope they extend beyond the everyday.
“I want people to immerse themselves in it and find new thoughts within it.”
Photo: Mixing paint to achieve the perfect colour is a precise process in Tycho’s work.
The title Crossing Currents evokes images of movement and flow. What does this title mean to you? Is there a personal story or philosophy behind this choice?
“The title refers to the backgrounds of some of the paintings. I often think about underlying physical principles, such as how a beam of light is refracted by materials on the surface of a painting, or how pigment particles in ink settle on the canvas like sediment in a river.”
You have a long-standing relationship with COVA Art Gallery. What does this continued collaboration mean to you as an artist? Looking back at your previous shows, how has it influenced your development?
“This long-term collaboration has provided a sense of stability, which I really appreciate. It allows me to focus more on painting itself and experimenting within my work. I look back on all three exhibitions with great satisfaction. When I reflect on my earlier shows, I see the evolution in my work. At the same time, the gallery has also grown significantly over the years, which is wonderful to witness.”
Foto: From the window, Tycho has a beautiful view with trees.
- Tycho climbs the ladder to show us some old works
- He created this piece during his time at art school. A realistic work where perspective already played a significant role.
- There are paint test samples scattered throughout the studio.
- In the studio.
- Tycho enjoys experimenting with colour.
- A piece Tycho has been working on for a while and hopes to complete soon.
- In the studio.
- In the studio.
- A new work in progress—stay tuned!