During the walk to Miko Veldkamp’s studio in New York, Kwame Anthony Appiah’s theory of cosmopolitanism came to my mind. The book seemed relevant with regard to the artist’s practice. I recalled Veldkamp’s paintings as poetic combinations with fauvist forms and intense colors with black lines and white spots. They descend visually from spaces and figures depicted in the artist’s family photo collection. Paintings like Resort (2012) and Terrace (2012) were set in tropical regions and crafted in warm green, brown, yellow and orange hues.

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