Rezi van Lankveld's abstract-seeming painting incorporates figurative elements which are hidden, or suggested, within the liquid swirls of paint that characterise her canvases.
Composed of (apparently) random dabs and drips, these readable forms are impressionistic in nature, a strange and unexpected counterpoint to the abstract backgrounds within which they merge.
Echoing this disparity, the vigour of van Lankveld's paintwork is offset by muted color schemes which, through their melancholic association, complicate our reading of these lively (and secretly life-filled) works.
Although now based in Berlin and considered a German national (we've consequently included his work in our survey of new German abstraction) de Bloeme's large, abstract works are clearly informed by his homeland's indigenous modernist movement De Stijl.
Appropriating the aesthetic clutter of the city in what he terms an act of 'visual piracy', de Bloeme distils its unkempt, overwhelming nature into works that are simultaneously ordered yet retain a frenetic urban edge.
In 2008 de Bloeme was the first non-German-born artist to win the country's national award for contemporary painting.
Born in Haarlem, 1969, Lara Schnitger lives and works in both Los Angeles and Amsterdam.
Working mainly, though not exclusively, with textiles, Schnitger is best known for her large-scale sculptures created from knitted and sewn fabrics.
She uses these chosen materials to create unexpected, highly idiosyncratic forms often combined with appliqued texts.
Totemic in structure and scale with an absurdist edge, Schnitger's work literally brings new dimensions to the use of domestic fabrics.
Maaike Schoorel's paintings require careful viewing; many of her works appear to consist of nothing but blank white canvases, smudged here and there with the palest patches of colour.
Nevertheless, her work is figurative, often portaiture; a series of traces that can, with concentration, eventually be conjured into a whole.
The delicacy of this approach is matched by the simple intimacy of the moments she depicts. Working from photographs, Schoorel's earliest work was inspired by old family snapshots, their fading hues an increasingly important element of her paintings.
Recent works have often depicted nude women, photographed within their homes and translated into the faintest of forms. Domestic tableaux constitute a growing part of Schoorel's ouevre: a table laid for breakfast; a glimpse of a garden.
The sum of Schoorel's painting is, of course, highly paradoxical. While minimal in detail and apparently effacing the people and situations she portrays, an unusually intense engagement is required to make out her images.
Through this act of concentration, we embody Schoorel's ghostly forms with the flesh and blood of careful viewing.
For all the artist's idiosyncracy, she maintains the traditions of classic Dutch art at its most characteristic: the informality of the domestic interior, the intensely intimate portrait.
Amsterdam-based sculptor and performance artist Folkert de Jong is best known for his installations of life-size (or even larger) figures of painted polyurethane foam.
Owing allegiance to artists such as as George Grosz, Otto Dix and James Ensor, de Jong melds the perverse with the familiar, imbuing violence with a certain grim humour.
>His characters have included witch hunters, religious or political fanatics, militarists and serial killers, and are situated in a curious world of symbolic props such as industrial pallets, radiators and junk food detritus.
Moral malaise in de Jong's universe is implied in various ways. Many of his characters have limbs missing, or the foam from which they are constructed is allowed to ooze in lumpen, cancerous masses. These grotesque overtones are accentuated by his frequent use of sickly, candy colours.