Jan Voss allows himself to be guided by his surges, but he does not give in to them, nor does he domesticate them: he drives them in such a way that they come up to par with him. He neither tames nor coerces; he orders his world without imposing an order on it.
And you notice that from this contradictory freedom of Voss's way of working comes the question that was posed right at the beginning: What is the pleasure of the eyes? (…)
Beauty, however, is always something additional. It is not a product, it is the consequence of desire, the expression of which in painting is inseparable from what it pursues: the desire to paint and the desire to see; the desire to see and the desire to paint.
The work of Jan Voss develops in the tension of this pursuit, which does not separate eye and hand, gesture and thought. This is undoubtedly where the looseness that has always characterized this work comes from.
This work asserts itself on its own trajectory and yet at the same time manages to summarize all the pleasure of the eyes, and that is to say: the history of painting, passing from the image to the writing, from the sgraffiti to the signs, using the most diverse techniques such as oil on canvas and paper, acrylic, watercolor, gouache, pencil, pastel, collage, lithography, etching ...