Last Dance

Last Dance
Tymon de Laat - Last Dance close-up
Tymon de Laat - Last Dance
Tymon de Laat - Last Dance Deventer
Tymon de Laat - Last Dance progress

“Last Dance”
9 meter x 12 meter.
Spraypaint on brick wall.
Tymon de Laat 2023.
Deventer, Ludgerus kwartier NL
Project for @streetartstreets

With this wall in the east of NL I wanted to touch on the subject of the ephemeral nature of this building (and it’s inhabitants that will have to move out) which will be taken down within the next 3 years and also the temporary character of my research into Uruguayan gauchos and their traditions. Here I painted a young lady preforming a traditional dance from Tucuarembo the Northern rural region of Uruguay whom i photographed last year January. The world we live in is ever changing and most of our movements are for the good of humanity I like to believe. For example we are adapting our behavioural patterns like eating less meat. I think these are good developments but they also bare consequences for people on the other side of the world in this case the meat producing Gauchos. Their way of life, cultural identity and tradions that have been passed down for generations are changing but will it survive?

“We have to change to stay the same” was stated on the facade of my art academy in Rotterdam.

A big thank you goes out to @egbertegd
@streetartstreets and @woonbedrijf_ieder1
@gemeentedeventer for inviting me.
Also a big thanks to model @dav_mendez05 and @thedutchtraveldrone for the arial shots. And the very warm and incredibly hospitable people of Uruguay and Deventer. Like John Tonny and Kim.

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De Laat started painting murals and canvases, often based on his own photographs of the people he met during his travels. He exaggerates the natural lines in their faces, and fills the spaces that appear between those swirling lines with swaths of vivid color. The linework and color palette he applies in that way, are a means of translating his memories of Latin America to visual imagery. The food, the architecture, the clothes, and particularly his respect for the culture of indigenous peoples; it’s all in there, as de Laat transitions it over to enliven drab Western concrete.

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