Eli de Haas: Close to Heaven, Close to Hell

EVENT DESCRIPTION

MOU PROJECTS is pleased to present “Close to Heaven, Close to Hell,” Eli de Haas’s first solo exhibition with the gallery as well as in Hong Kong. Featuring his most recent paintings, the exhibition explores the complex, ambiguous relationship between figuration and the idea of space, fabricating dreamlike and surreal worlds that linger between extreme allusions. The title “Close to Heaven, Close to Hell” does not refer directly to the religious imagery but rather invites viewers to navigate the suggested, mysterious terrain in between, the one that encapsulates both real and imagined experiences, authentic and fictional narratives.

In de Haas’s paintings, figures are often positioned in uncanny, ambiguous manners—floating in mid-air, seemingly dragging someone on the ground, or standing still with outstretched limbs. De Haas is particularly intrigued by the intricate dynamics between these figures and the nuances of human relationships they evoke. While the figures may appear close with their bodies touching, the lack of detailed facial expressions leaves their true connection uncertain, inviting viewers to project their own interpretations. In Untitled (2024), the figure at the center is rendered in vibrant yellow, reaching out to the arm of the adjacent orange figure, which appears to be turning its head away, creating a sense of disconnect or tension; while a soft pink figure on the left side stands slightly apart from the others, gazing at the viewers. The ambiguous composition allows for multiple interpretations—are the figures engaged in a loving embrace, a quarrel, or an uncertain emotional dance? The simplified, surreal rendering of the figures, with lines and colors forming their features and shapes, further reinforces their role as vessels for conveying thoughts and emotions rather than precise portraits.

The landscapes or backgrounds in de Haas’s works are equally intriguing in that they enrich the alternative ways of expressing the idea of space and the relations between subjects. The surrounding environments in
his works do not merely serve as the backdrops of the starring figures, but interact with the human forms and—at times—seem to merge with them. In Untitled (2024), the dark tree- or balloon-like shapes appear to blend seamlessly with the figures’ hair, intermingling the corporeal and the spatial. The artist’s use of divided, pastel-hued backgrounds, as seen in works like without words to remember (2024), further contributes to this dreamlike, imagined quality, evoking a sense of coexistence of multiple spatial planes or horizons within a single composition.

When titling his works, de Haas often opts for more open-ended interpretations, leaving many pieces “untitled.” This deliberate choice allows viewers to engage with the artworks without the constraint of a predetermined narrative, encouraging them to formulate their own interpretations and responses. In his practice, de Haas favors the rigidity of wood panels, which allows him to build up multiple layers of paint and sand the surface between applications with a pumice stone—an ancient abrasive technique. Without being bound to a pre- conceived compositional plan, he is able to maintain the delicate materiality and vibrant colors. This intuitive approach mirrors his desire to continually discover and evolve the work, rather than impose a singular vision.

In exploring the ambiguous space captured in his works that spans disparate worlds, de Haas invites viewers to explore the liminality between the familiar and the unknown, the real and the imagined. By blurring the boundaries between confined environments and figuration as well as their evoked relationships, his work prompts a deeper, more nuanced engagement with the complexities of the human experience.

ABOUT THE ARTIST / ORGANISER

Eli de Haas (b. 1999, Rotterdam, the Netherlands) is an artist who explores the boundaries of subterranean worlds in his colorful, ambiguous, and magical compositions. His works summon the viewer's childlike spirit, prompting intuitive feelings and responses rather than rational conclusions. Evoking fragments of dreams or fairy tales, the works often feature free, casual, and sometimes naïve figuration, presenting a more visceral, embodied presence to the reality he depicts, without ever pinning down a single, fixed interpretation.

In de Haas's compositions, bodies morph into landscapes, silhouettes emerge from the shadows, and faces become the projection of viewers' inner worlds.

De Haas studied at the Gerrit Rietveld Academie in Amsterdam and Kunstakademie Düsseldorf. The artist currently lives and works in Rotterdam, the Netherlands.