Through the powerful yellow lettering on blue the word ‘optimism’ on this banner must have been very striking, and have put many on the wrong track.
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Jannie Regnerus features in her own photographs and films as a neutral figure who, always dressed in the same white shirt with yellow dots, performs small-scale rituals.
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The yellow dots in the snow provided another point of departure for subsequent work, for instance, the piece in which she places white, cotton squares under an apple tree.
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Yellow banners with the text 'made possible in part by the squatter movement' showed up on the façades of former squatter bastions like Paradiso in Amsterdam and Tivoli in Utrecht.
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Brilliant yellow, flaming red, neon pink, royal blue, bright green, gold, silver and glitter - it can rarely be too colourful or varied, flying in the face of all notions of good taste.
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The symbolism of the image Six eventually settled on is multiple: it alludes to the endless choices with which we are confronted on the ‘ladder of life’, the eleven generations that separate the current Six generation from the Jan Six of Rembrandt’s painting, and the audacious ladder-like strokes of yellow paint with which Rembrandt represented the golden brocade running the length of his subject’s red coat.
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