Willem_de_Rooij
Willem_de_Rooij

== Rezeption ==
Kunsthistorikerin Pamela M. Lee beschreibt das Werk De Rijke / De Rooij in einer Einführung zu ihrem Portfolio in einer Ausgabe von Artforum 2008 wie folgt: Die Künstler folgen der "recursive economy of the image: its affective power, its capacity to seduce and organize perception, and its mediation of time and subjectivity."
In einem Interview mit Dieter Roelstraete im Magazin Afterall 2010 stellt De Rooij fest: "The very notion of 'representing', of 'imaging', is what my work is most deeply concerned with."
Kunsthistoriker Daniel Birnbaum reflektiert De Rooijs Œuvre in einem Artforum-Artikel von 2016 wie folgt. Seine Werke operierten als "instances of abstraction that cut right through the textures of meaning that we tend to read into works of art" and that they "might exist as physical crystallizations, but their logic owes much to the tactics of film: framing, cutting, editing, and, above all, focus. The very concept of focus presupposes a dialectic between discreteness and contextual embeddedness: To focus is to draw attention to ''this'' by ignoring ''that''. In the act of bringing an image into focus, the filmmaker prompts scrutiny of an object while also articulating the fact that the rest of the world is still out there, beyond the edge of the frame. This dialectic is key to De Rooij’s work, where the same meticulous care is given to display elements and framing devices as to the art itself."