Van der Beek's paintings are vulnerable, fragile and monumental at once.
With alternately transparent and covering layers on top of one another, he commits his compositions to the canvas. Identifiable elements there are none left. The outlines that,
on various paintings, would seem to evoke recognition, have turned into a language of their own and more frequently used in this quality. The straightforwardness of the drawing meets
its opposite in the brushstroke, which is smudgy and transparant, almost volatile and transient, although occasionally even covering and monochrome. Such contrasts as these are united in harmony, which ensures that the balance remains.
Compositional shifts are sources of movement. Movement that would seem to try to reach beyond the surface offered by the canvas. The composition extends, as it were, beyond the canvas itself, absorbing its immediate environment. On the other hand, this movement would seem to be captive as though observations have, 'for one moment', come to be frozen.
Van der Beek aims to confine himself to the bare necessity. This accounts for his need to minimize the use of elements determining direction and place, such as colour.
Ingrid Kentgens - Conservator Museum van Bommel van Dam / Bonnefantenmuseum, Maastricht