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## Tour
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ABOUT JAN JACOBS
The shapes of the future
Jan Jacobs has been working on his new painting oeuvre since 2014.
His paintings arise from his vision of the future, in which other, new forms occur.
Yet he can count himself among the modern realists.
He is fascinated by the influence of technology on the many facets of our existence.
His subjects are about situations in space or on earth with automatic devices, spacecraft, people, animals and mutants painted entirely according to his own vision.
For a long time he already had ideas about this future, but how do you transform them into a concrete drawing or painting?
He often goes to museums to look at beautiful paintings. The paintings tell him a lot about the way in which a painting result is achieved, real and not real, as in real reality.
With Jan Jacobs, paintings arise from powerful images and thoughts that come to him, which he must first allow to happen and which can happen to him at the most unexpected moments.
In the office, as an employee of a technical wholesaler, during a telephone conversation with a customer, he can suddenly have an image attack and he then must ensure that the customer does not notice it. Creatures, robots, machines pass by in a colorful procession.
Behind the drawing board it is a lot of fun to work out those ideas. They are drawings and notes together on the same sheet of paper. Then he begins with his painting.
Since 2014, to his great relief, there has been more structure and clarity in his work and he is able to handle all this form information much better. His oeuvre grows and grows, now that he can place his own storm of images on paper and on canvas.
Welcome
To Jan Jacobs' international 360° Art Space Station
Move the screen by clicking and dragging your cursor. Walk around the gallery by clicking blinking arrows. For information on a painting, click the 'i' icon in the top right corner of the painting.
Enjoy!
About Jan Jacobs
The shapes of the future
Jan Jacobs has been working on his new painting oeuvre since 2014.
His paintings arise from his vision of the future, in which other, new forms occur.
Yet he can count himself among the modern realists.
He is fascinated by the influence of technology on the many facets of our existence.
His subjects are about situations in space or on earth with automatic devices, spacecraft, people, animals and mutants painted entirely according to his own vision.
For a long time he already had ideas about this future, but how do you transform them into a concrete drawing or painting?
He often goes to museums to look at beautiful paintings. The paintings tell him a lot about the way in which a painting result is achieved, real and not real, as in real reality.
With Jan Jacobs, paintings arise from powerful images and thoughts that come to him, which he must first allow to happen and which can happen to him at the most unexpected moments.
In the office, as an employee of a technical wholesaler, during a telephone conversation with a customer, he can suddenly have an image attack and he then must ensure that the customer does not notice it. Creatures, robots, machines pass by in a colorful procession.
Behind the drawing board it is a lot of fun to work out those ideas. They are drawings and notes together on the same sheet of paper. Then he begins with his painting.
Since 2014, to his great relief, there has been more structure and clarity in his work and he is able to handle all this form information much better. His oeuvre grows and grows, now that he can place his own storm of images on paper and on canvas.
JOHN DOE
Licensed Real Estate Salesperson
Tlf.: +11 111 111 111
jhondoe@realestate.com
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Launch of a rocket in classic landscape
This landscape increases the difference between past and present. In the foreground is an old tree that grows in all directions. A farmer passes with his two pigs who roam freely on the dirt road.
Then we see people near a car, model from around 1920.
A missile is launched in the distance.
Size: 30 x 40 x 2,3 cm HxWxD
The automatic corn harvest
An automatic harvesting machine does its job in the corn field. On the left in the foreground a dog robot and on the right a real chicken.
Size: 30 x 45 x 2,3 cm HxWxD
Machine in the landscape
This installation includes the shapes of a pepper, a carrot and a lemon. A lady lets her dog out. A cloud in the sky looks like a collection of balloons.
Size: 60 x 70 x 2,3 cm HxWxD
Cultural journey through space
Propulsion, landscape and architecture are linked together in a somewhat loose construction to form a spacecraft.
A satellite is floating just above it. A space rock is moored near the tower in the foreground. Two women heads in the meadow look at us.
A vague flying saucer can be seen behind the tree and to the right of the pasture fence.
A condition for this trip is that you bring your own culture.
Size: 50 x 80 x 2,3 cm HxWxD
Satisfied humanoid with happy dog
A humanoid walks her dog with folding wings, with a floating, gravity-defying village in the background.
Size: 60 x 70 x 2,3 cm HxWxD
Landscape on the way to Earth
An alien-made landscape for the earth.
Size: 50 x 65 x 2,3 cm HxWxD
Giant potato for consumption in space
This potato of thousands of tons, has been designed for fast delivery to heavy consumers in nearby space.
Part of the potato will be used as fuel, with the help of the installation, for the two large jet engines.
Size: 50 x 60 cm (19.7" x 23.6")
Finished July 2014
Painting for sale: Acrylic on Canvas
Background story
This painting is also a cartoon.
The purpose of the potato in this painting is to provide sufficient food efficiently in space.
This could concern the food supply for a more distant space station or, for example, for Elon Musk's Mars project.
People want to learn to survive in space and preferably on another planet.
Due to the enormous engine capacity, this potato could easily overtake a normal launch vehicle.
The further developed skin of the potato far exceeds the heat resistance of a Space Shuttle tile.
During launch and landing, the potato is covered with a temporary peel. A temporary tent made of this special potato peel. This phase of the journey is not depicted in this painting.
There is a comfortable living accommodation on the back deck, a castle.
There are fields, a vegetable garden and an orchard for the crew on the go. At the tip of the left wing we see a crop circle. An inevitable consequence of traveling the universe.
It is not known who make these grain circles, crop circles. Maybe the crops will do it themselves. There would then be a collective autonomous vegetative design function, as the crop individuals would have to work together for this.
In front of the crew's accommodation is a Bio-ethanol installation that uses part of the starch of this potato to make fuel for the in themselves economical engines.
Some offshoots on this giant potato cannot be prevented.
When landing in a different atmosphere, these will soon disappear.
After leaving our atmosphere, the engines will continue to run for a while until the desired speed of a few million kilometers per second is reached. Then the engines are turned off.
Suddenly there is a sacred peace on the potato, unless someone hits the doors on the castle.
There is a bulge on the nose of the potato: a play of nature that has been left behind, even in the enormous construction pit where this squeaker was grown.
In the painting we see the potato above the sea, at the moment after launch, where the first acceleration takes place.
The heat released is absorbed by the sea. It's also safer than over land, where one could easily burn a herd of oxen.
The viewer of the painting is invited to give his thoughts on traveling in space, with or without a tuber or fruit.
Contributing pig (with cutter bar)
The pig is on its way to a mowing job, but the pig's cutter bar is still at rest. The sugar beet found on the ground comes first.
Size: 40 X 50 cm
Modified fish suitable for passenger transport
This fish has a travelers compartment with windows. A hydrogen engine ensures a fast connection.
Size: 40 x 50 x 2,3 cm HxWxD
The mining of an asteroid at break
Situation painting of a possible way in which an asteroid can be mined in the future. The employees are having a break and take a breath of fresh air. Since there is an atmosphere but hardly any gravity, some of the people are upside down compared to the others. One can also protect each other from drifting too far apart by a sudden movement, a sneeze or a fart. The historical elements of the buildings contribute to the atmosphere.
Size: 50 x 70 cm (19.7" x 27.6")
Finished March 2015
Painting for sale: Acrylic on Canvas
Background story
Mining on an asteroid.
The enigmatic constructions in this painting of this asteroid all have a function.
The staff is on a break. A number of them are just outside.
Some smoke an organic whole-grain cigarette.
Others take a sip of Universe juice.
As more construction companies settle on smaller planets, moons or asteroids, all kinds of new products, as well as liquid refreshments, can grow into an independent market segment, a study found.
The two just completed panels on the front of this traveling rock will be called "deep-space photon collection screens" or something. People will laugh at the solar panels that we placed on our roofs. We, in turn, can also laugh about the history of the railways, for example.
About photos of the first steam locomotives or the construction of the first rails.
Historical turrets have also been built on this asteroid.
They provide ambiance. That is important for its residents.
Some turrets are upside down. Since the force of gravity is very low, this has not proved to be an obstacle for habitation or a visit: people are used to it.
Half of the people that are having a break are upside down.
Whoever is upside down is irrelevant in space.
At this moment in the painting one group is having a break upside down compared to the other group, nothing more.
That is a logical observation. Practically completely unimportant.
The phrase, "Turning something upside down," has fallen out of use. As well as "Being over the moon", has become totally useless.
Who does not go to the moon or a moon, one better ask.
Discussing weighty matters at low gravity also turns out to be very disappointing in practice.
There is no market for acrobats on an asteroid and fear of heights is a passed (space-) station.
The big advantage of two short lines during the break is that no longer lines of people are formed. This could result in the risk of drifting properly into space. Nobody is waiting for that.
The temperature in the vicinity of the asteroid also plays a role (around 20° C / 68 °F). Slightly further away it drops to unacceptable levels. Nobody likes to get cold.
Horses are prohibited. These large animals disappear in no time like a dot in the distance. They weigh no more than an average handbag. The danger lies in the fact that because of their snoring and, indeed, because of their thunderous winds, they literally cannot be stopped.
Equipment construction has boomed on this asteroid.
Thanks to all this technology, a real forest has emerged.
It can be seen that a meteorite once hit the stern.
Geologists confirm earlier reports that this meteorite contains special metals.
The asteroid's mined minerals are regularly retrieved by the Bezos-Musk missile.
There are four snowy mountain tops, but more is needed for winter sports. The cloud formation alongside is excess moist air from one of the production processes.
The painting was made at an interesting time.
The asteroid passes a moon and overtakes one of the first satellites, robotic spacecraft. Incredibly slow things. But very nice.
Since the asteroid still contains a lot of valuable material, a project has been started to make it steerable and thus keep it within the solar system. The construction of a nose cone is already underway and engines are on the way.
There is not a lot of contact with the earth anymore. On average one WhatsApp message per month. The score is traditionally published at the end of the year.
The people are laconically satisfied.
Gravity may be low, but the atmosphere on this asteroid is very good.
Falling still life with motor and pears
In a falling state, the attributes of a still life can be arranged differently.
Size: 50 x 60 x 2,3 cm HxWxD
Fruit and vegetables delivery by a flying saucer
A flying saucer fires some carrots, a large strawberry and an apple towards a delivery address. A strawberry that has gone off course is captured by a jet propelled angel. Another angel, with smaller engines, watches.
Size: 60 x 70 x 2,3 cm HxWxD
Rat on the way
This rat has a petrol engine and is suitable for public roads. In the right foreground a vegetable variant.
Size: 50 x 60 x 2,3 cm (16.7" x 23.6" x 0.9") HxWxD
Painting: Acryl on canvas
Original, unframed
Signed
Finished June 2017.
Background story
Conditions for the rat have never been better.
Long ago when humans began to develop into the first cyborgs (the human machine), rats were called pests.
The scum among the animals. The vermin, disgusting, drain animals were names that were often used.
They also lived in the sewers, where the temperature was sometimes so high that they were eaten by discarded crocodiles at a young age.
Their pest status has been changed to “unwelcome creature”.
Technically the improvements are enormous.
There is much more freedom for the rat and in their behavior they are no longer pests.
Society will not be able to accept the revolution of these gnawers all at once.
That is why the term "unwelcome creature" is adhered to
Many rats think that's not fair.
The changed man is called humanoid. That sounds much better than "unwelcome creature".
You can call a rat a “ratoid”. Not only does that sound better, but in the context of technological unification, in which every tissue plays a role of humans, animals or plants, also more correct.
As a pest you were an outlaw.
Of course the rats are very happy with their status improvement and it gives their life meaning again.
They all get a 4-cylinder engine, based on that of normal passenger cars. These engines are of course adapted to their own size: small engines.
Their automatic navigation takes them to the most beautiful workplaces.
As a result, they have completely lost their pest label.
The rat in the painting is on its way to its next job.
Next to him on the roadside, a spontaneous mutant continues to grow.
It looks like a plant, but will it stop there?
There is also a tube with a box on it.
It is a progressive situational environmental meter.
Similar to the security cameras you saw everywhere before, but than more universal.
Some of his colleagues would like a bigger engine, to race a bit from time to time.
Other rats are curious about the sewer.
Excursions are likely to come.
These needs are addressed. Extra demand is good for the economy.
This rat looks a little bummed because it's being painted, but he is very happy.
Industrial area with walnuts
Walnuts nearby with a plant in the background.
Size: 50 x 60 x 2,3 cm HxWxD
Always a fresh egg (laying on the way)
This laying hen is in a drone with two bait eggs and lays eggs on the way. These eggs can be delivered fresh to a customer as soon as an order arrives at the central planning.
Size: 50 x 60 x 2,3 cm (19.7" x 23.6" x 0.9") HxWxD
Painting: Acryl on canvas
Original, Unframed
Signed
Outing in space
Seven ladies and two transformers picnic in space.
Both transformers seem to be mainly consumers of red wine. Undisturbed by gravity, all kinds of edibles float around.
In the foreground four automatic pet animals.
The engines draw their fuel directly from a bush without the intermediate fossil step.
They fly above the earth. A.o. England and Scandinavia can be seen.
Size: 60 x 80 x 2,3 cm HxWxD
Tree with a robotic arm
This tree does not have a side branch but a robotic arm that, like a branch, gets its energy from the tree. The usefulness of this setup is not entirely clear. A cow is watching.
Size: 40 x 50 x 2,3 cm HxWxD
Three portraits in a red car
Painting for the 100th year of birth of Hubert Lampo. This topic is based on Lampo's short story: “Delay in Walsoorden”.
Size: 50 x 70 x 2,3 cm (19.7"x 27.6" x 0.9") HxWxD
Finished July 2020
Painting: Acryl on canvas
Background story
The story features three people: the narrator, Hubert Lampo in the role of Mr. Bergmans, a lady, a history student, and an apparition, an ever-emerging man in a black suit, who does not seem to exist.
I could make portraits of all three.
Hubert, in the middle, I made up as little as possible, the other two: the lady and the man with the cap I discovered while reading.
Pretty soon I had an idea of these two faces.
Before making my painting, I noticed that painting the portrait of the lady proceeded just like painting the other portrait: the man with the cap, who is an apparition.
In this case, painting a ghost is just like painting a human. That in itself is funny.
He is an intermediary of a non-visible, but possibly influential world, which sometimes emerges: an appearance that can travel within the spaces of matter as if it were nothing.
Is it only our thoughts and wishes that create such an appearance, or does the shape really come into view, because it wants to or it is?
That is one of the qualities of a story by Lampo, that he interweaves the influence of a possible other world in his story in a special way. Whether this magical realism also resonates in my painting, I leave to the viewer. I have been painting diligently and paying as much attention as possible to the elements that make up the story, to make the best use of it.
The I figure, the narrator, our Hubert, Bergmans, drives a different route than usual to his lecture in Middelburg.
Fog is rising.
The background of the painting has become a vague air-vapor improvisation with a tip of a mooring on the left and vague buildings above it. The patches also show a green color of vegetation, which I think is part of fog, that there are more visible parts in between. In this case from a shrub or bush.
In Walsoorden, Bergmans has to wait for the ferry across the Schelde. The fog thickens. Next to him a red car stops with a beautiful lady who looks at him and apparently says something.
Hubert gets out and asks her what's going on.
It turns out that she is bothered by a man in a black suit who keeps appearing in front of her. She's confused about it.
I use the red car in my painting as a demarcated space to paint the portraits of the three people together.
The lady, Bergmans and the ever-appearing man whose face somewhat resembles a mask.
I let this man with the cap float next to the rear window of the red car. I think that suits him. He cannot really trip or fall. If he were sucked into a running jet engine of an airplane, his tie, jacket, and cap would still remain neatly in place. He would probably take a Lampo book out of his pocket and start reading.
His tie, wrapped around the edge of the rear window, is the only thing that ties him to the car.
I have changed his cap to a somewhat less sleek model than just the black municipal cap from the story. On the spot of an expected logo in the center above the peak of this cap I painted a lamp, illuminating the face of the heavily pipe-smoking Lamp-o: “table lampo light”.
The man's club tie has a coat of arms of a lamp and a pot. The nice positive explanation is: “Look, the lamp in the pot is on. Energy directly from feces! ”
The exasperated lady looks at us: "Why is this happening to me?" The apparition is very unpleasant for her.
While she was sunbathing on the beach in “Oostende”, the man in his suit sat down in a beach chair in front of her.
The lady in her bikini and the man in a suit.
In response to this unequal variant of Lampo, I gave the lady a wide-mesh wire collar, from which one could deduce that her entire clothing would consist only of this wide-meshed structure.
In a correct distribution, in reality, certified heating elements will have been added, in order to be able to place such a “techno-fashion expression” on the market, so that it offers sufficient protection in different weather types.
This way, I tried to add a “Lampo effect” while painting.
Furthermore, the lady is safely behind the front door of her car, but with two of "those men" in the back seat.
Bergmans wants, when the line of waiting cars starts moving, to meet with her on the other side to talk further.
His car doesn't start and she drives onto the ferry.
Then the man in his black suit and cap stands next to his car. Hubert opens the window and the man says: "You cannot go to the other side, sir." Bergmans shudders at the sight of the man. He has to wait for the next ferry.
He will not see the lady again. The man he did, in Middelburg, made tea for him. Mr. Bergmans is shocked when he sees that it is the same man who approached him at the ferry.
Why is that vague man nice to Mr. Bergmans with a cup of tea and why has he made life so miserable for the lady?
Village in space
In the foreground a colorful new building. The village is powered by a machine that partly consists of different organs, which supplies fuel to the “engine” behind it.
Size: 50 x 70 x 2,3 cm HxWxD
The kidnapping by Zeus, disguised as a bull, of the Phoenician princess, foiled by a smiling robot with a cattle cake
Greek Myth about Zeus, who wants to kidnap a Phoenician princess to Crete, to marry her there. A friendly robot distracts the bull with a tasty cattle cake, allowing the princess to escape.
In the foreground, a twin-engine, shocked drone with a living head, takes off.
Size: 24 x 30 x 2,3 cm HxWxD
Clean cow under its own power en route to the dairy
A clean cow flies to the dairy on its own power, with all the facilities to arrive at 0-energy level, except for its milk.
Size: 40 x 50 x 2,3 cm HxWxD
Pig with shovel
This cooperative pig with a built-in chip is able to perform a number of tasks, within a new farm model.
Size: 50 x 65 x 2,3 cm (19.7" x 25.6" x 0.9") HxWxD
Painting: Acryl on canvas
Original, unframed
Signed
Finished January 2015
Background story
This large happy pig is busy with his work on the farm.
That the subject of this painting concerns an idea about the future,
is clear, but what does this pig “actually” do.
It is a male, also called bear. A completely misguided name for a large pale pink mammal.
In theory there should also be “pink” brown bears.
This pig's job is to get food for his colleagues, the cattle, on the farm. The cattle cannot do this themselves.
They could, but they are not designed that way, unlike this pleasant pig with a shovel.
In itself a tattoo would suit him. (Two crossed corn cobs and an anchor? "Hope for good food again and again.")
On the outside it is not too bad, but this animal is heavily adapted, modified according to the latest technologies.
Its undercarriage, the chassis of a second-hand tractor (cost aspect), is integrated.
The highly efficient, heavily patented motor uses some of the animal's original body functions. This becomes especially clear at the back. Where manure and (positive climate-supporting) exhaust gases leave the animal with great ease.
The pig is going to get a scoop of high-efficiency organic chop. It's coffee time and the cattle are in for it.
During its ride on the road, the shovel shakes a little with every bump. That feels old-fashioned.
Not everything will be different in the future. We can also see this from the fence where the animal passes. Or is this fence made of the most modern, but wood-like, “state of the art” composite material?
Does that also apply to the grass and trees? It could be.
The chip in the pig ensures that he continues calmly and is happy with his job.
Technical landscape with drone and mole
In this “technical” landscape we find: a drone, a “possible vegetation enhancement machine” to the left of the mushroom and a mole on caterpillars. Two mutants – in the process of mutating - sit on the water dam.
Size: 50 x 70 x 2,3 cm (19.7" x 27.6" x 0.9") HxWxD
Painting: Acryl on canvas
Original, unframed
Signed
Finished May 2014.
Background story
The overall green color of the painting stands out.
It is an "A study in green", like "A study in Scarlet". The title of the thrilling novella by Conan Doyle the English detective writer.
The foreground of the painting shows us the further developed automation and mechanization of nature.
Somewhere in the future.
In the left foreground, a machine that probably produces living leaves or whole plants. An independent form of agricultural mechanization that got out of hand?
More towards the center a plant with a lot of leaves, as if hit by a virus.
Then to the right the animal, the mole on caterpillar tracks, also a “consequence” of that technical evolution.
Behind it a white drone, which looks like a model airplane with a jet engine. Equipped to the level of the time with an “application oriented IC and software”. Connected to a supercomputer set up somewhere, this drone will have an overwhelming computing capacity and thus operates the pro rata built-in sensors and cameras in an all-encompassing and controlling manner.
In the background to the left a group of houses, or structures resembling conventional architecture. Are they houses? Do they have a function?
On the right the familiar group of trees partly reflected in the water.
And then the almost infinite horizon, the depth of the painting, enhanced by the tapering banks of the canal.
The large tree in the middle, most of whose foliage falls outside the painting, divides the composition in two.
Then there is the dam in the middle section.
On the left, a creature walks up the dam over a footboard and there are two on the dam itself. Who are they? What are they? Mutants of mammals, plants, insects a combination of these? Are they (partly) machines?
There is really nothing to the right of the tree. Grass and sky. In itself that is not nothing.
With this painting, the question is always: "What will the further mechanization and automation look like in the future?" Does this development affect all of nature?
Although the landscape looks friendly, there is a threatening undertone: is this the result of an increasingly independent technique, in which nature has no choice?
Would it be a macabre process, are we heading for an Apocalypse? For example, this apparently peaceful painting can be compared to Conan Doyle's exciting novel.
Albrecht Duerer, the great German painter of the fifteenth century, was already aware that the Apocalypse sells well. Born in the time of the rise of the letterpress coast, he knew how to sell his frequently reprinted sections.
Explained in this way, this painting could also be called “Tension in green”.
Autonomous construction of a spacecraft at the coast
It concerns the fully automatic construction of a spaceship on the coast. With fully independent, partially underground production machines and as yet unknown applications of techniques and components. However, it can be seen that plant-like shapes are associated with mechanical constructions.
Size: 60 x 80 x 2,3 cm HxWxD