Steef Crombach (1992, Maastricht (NL))

06 207 268 72


2011-2014 –Royal Academy of Fine Arts, The Hague (NL) department: Fine Arts (painting)

2010-2011 –Academy of Fine Arts Maastricht (NL) Fine Arts


2018 –Art Rotterdam, Rotterdam (NL), Prospects and Concepts 2018 (group show)

2017 –The Royal Palace, Amsterdam (NL), Royal Painters Price 2017 (group show)

2017 –BOLM gallery, Austin, Texas (USA), LOOM (group show)

2017 -Co-Lab Projects' DEMO Gallery, Austin, Texas (USA), Expedition BatikBack (group show)

2017 -Vonkel, The hague (NL), Bij wijze van Ham (solo show)

2016 –BigMedium, Austin Texas (USA), East Austin Studio Tour (group show)

2016 -BigMedium, Austin Texas (USA), West Austin Studio Tour (group show)

2015 -In your living room, Maakhaven, The Hague (NL), The Cliff hanger show
(group show)

2015 -Maagdenhuis, Amsterdam (NL), Bloody Mary
 (group show)

2015 -Yteismaa NGO, Helsinki (FI), Olohuonenayttely (group show)

2015 -Roodkapje, Rotterdam (NL), Winterwolven RADICALS
 (group show)

2014 -Het Kunstgemaal, Bronckhorst (NL), De Springplank tentoonstelling (group show)

2014 -VROM, Den Haag (NL), 35 titles for a group show
 (group show)

2013 -NEST, Den Haag (NL), Me, myself and I (group show)


Nomination Dutch Royal Painters Price 2017.

Contribution Young talent, Mondriaan fund.

¾ Fellowship East Austin Tour, BigMedium, Texas.

Full Fellowship, BigMedium, Texas.

Stroom KABK Talent Invest.

Other activities:

2017-Curator and initiator for the international project; 'Expedition BatikBack'.

2016 -Curator for the floating exhibition; ‘Dirty Daisies’, during Art The Hague.

2016 -Curator for the show ‘Everywhere and Always’, starring Vincent Both, Alexandra Martens, Maja Klaassens at gallery for contemporary arts Vonkel, The Hague.

2016 -Curator for the show ‘Behind the visible’, starring Joyce ter Weele at gallery for contemporary art Vonkel, The Hague.


2017 –Tatiana Ryckman, (August 2017) Steef Crombach, Austin, and ‘Hacked’ Batik. Profile on the Houston based website Glasstire.

2016 - Bertus Pieters, (oktober 2016) about the show 'Dirty Daisies'.

2016 -Erik Korsten, (July 2016) interview about curating the show 'Everywhere and Always' at gallery Vonkel as part of the radio program 'kunstlicht' on Den Haag FM (starts 15min in).

2016 -David Brendan Hall, (May 2016) Picture of I Bogart in Austin Chronicle.

2014 -TINKEBELL, (Juli 2014). Op zoek naar studenten die superwezens worden.

2014 -Niek Hendrix (juli 2014). Steeds meer druk op kunsttalent; 22 nieuwe makers om goed in de gaten te houden.

2014 -Rosa Helldorfer & Rob Groot Zevert (Nov 2014). Verslagen academie bezoeken.

2014 -Sophia Zürcher, (Juli 2014). Lichting 2014; KABK.

2014 –Niek Hendrix, (juli 2014). Eindexamen Expositie; KABK Den Haag.

2014 -Bertus Pieters, (juli 2014). Graduation Festival. Royal Academy of Art (KABK), The Hague.

2014 –Picture Man-Balloon-Milk, (juli 2014). BK-Informatie

2014 -Lorelinde Verhees, (februari 2014). 35 titles for a group show.


Although my work radiates a resolute materiality in a firm shape, my approach to the world is poetic and very speculative. I question the status of objects and situations. In my work I deal with these concrete manifestations by adding an almost identical second layer to them. In this way I unscrew the anchor points in our perception.

I have trouble navigating through my direct environment. This because I don’t automatically safe, categorize and make a habit out of daily life. I can stare myself blind on the pattern of a carpet, or those funny patterns you see in public transport.

Dealing with this constant struggle to grasp what’s daily in life forms the base of my research for my visual art. What are the most common car colors, common colors of houses and the favorite colors of people around us. Once I collect and picked out these fragments of information, I safe them in my memory consciously. This is our environment. This is how it looks like. A lot of things that come forward in my research are the things that shape our environment, should make it easy to navigate thru and make it seem neutral. By showing the end result of my struggle I feel like I enable people to see what’s going on, to see which aspects of our present time will be part of our collective memory when we look back.