Initially Gerard Dekker’s sketches seem to open themselves quickly.
One seems to be able to group single objective or figurative elements everywhere. But as soon as the eye and the head want to fixate onto these impressions, they loose their descriptive character and turn into a free composition, which does not follow any set rules and opposes certain expectations. The artist does not create a fixed definitive structure with his line, he circles the forms with a pen or lays them out, and he approaches them without fixating them or without creating a clear expressive structure to grasp.The works develop intuitively out of the line, out of a continuing process of punctuation and graphic reaction. The creative goal is designed, over-subscribed and changed until it appears out of the fullness of sketchy and preliminary lines. This doesn’t happen as a ‘peinture automatique’, which eliminates every reflection and every system. The compositions show that the promptness of the line is in contrast to the balanced overall structure. Spontaneous free forms and marks, outlined with a fine line, compactly open or closed, able to bring tension into the picture field, bring rhythm to or border the side of the painting, the plans get defined, picturesque formations are slotted in or pulled over and with that produce a complex pattern-base-relationship as well as the pointed effect of empty spaces – the ensemble of all these elements turns into a structure which is clear and secretive, firm and floating at the same time.While overpainting, covered areas appear, parallels and changes of previous are recognized.The painter discovers in this intuitive process traces and forms he reacts to. The graph has its own memory. It captures traces of memories in the material, which turn into base and part of the pictorial statement. Gerard Dekker does not only care about the finished work; he shows the development of picture forms in the graphs and points to the characteristics of creative processes.This action is typical for Dekker’s intention. The line and its duct are the immediate trace of the pen or the hand, but at the same time the refection of something existing. A multi layered picture directory arises out of that, things of importance are negated but not titled. The artist approaches the term of ‘disegno’ in an impressive manner, an expression out of the renaissance, in which the spontaneity of form and idea result in a spiritual design, which enables to experience reality but does not dominate it. Dr.Hans-Joachim Manske Directeur Städtischen Galerie Bremen (1991)

During their career most artists arrive at a number of more or less permanent formats. They try to develop these formats as best as possible. More or less identical ideas are expressed in different ways in many different works.
The artist takes it for granted that, although the pictorial development isn’t obvious for the spectator, language changes. Of course one also has artists who are moodier in their picture language. In my opinion, Gerard Dekker belongs to the first category. His work on paper, lithographs  and paintings are picturesque adventures in which an experienced spectator is able to discover many variations. The end result shows clearly his exploratory way to work, which contributes to the quality of the final piece. Moody strokes of black chalk or charcoal are obvious traces of action being developed while working.
Choosing a process like that as a beginning, the artist has few points of contact. These actually develop in the same way the piece itself.
The sketch is like an organism, which gets moulded by Dekker’s hand. The necessity to change something in the pictures derives from the world of emotions. One gets an impression of the artist’s experiences and can see how he has intervened in the picture. In Dekker’s work, destruction is sometimes the beginning of new pictorial possibilities. The over painting of certain areas – mostly with white paint – contributes highly to the actual result of the sketch. In his lithographs he achieves this effects in an unusual way by countless prints on top of one another or even through the pasting in of collage pieces.
The epilogue, which J. Bernlef wrote in his translation of a book of poems by the Swedish Carl-Erik af Geijerstam, is about favourite expressions, words, appearing many times in his poems. They seem like abstract notes – taken out of their context -directed towards something not yet existing. The pictures seem to determine the direction of our thinking and actions. However, the senses are sharpened in anticipation and one awaits what comes next.
A pictorial struggle on the one hand, on the other Dekker’s expression that, due to his experiences, adequate actions are taken. 
Sometimes Dekker sketches around things. Having a good look one might discover the legs of a horse or the trunk of a person.
These images end up being part of the organic totality and are never obtrusive.
His work is also about silence.
And this word appears 15 times in the wonderful poem of af Geijerstam.
The end of ‘The Silence’ is as follows:
To be patient as a stone   Awaiting moss   Whose inert tentative roots
Search quietly    For support –   To know that something is looking for you,
Waiting for you   Amongst the silence   That you might finally
Stand before an encounter    Before a tentative beginning.

These encounters happen as well by having a good look at Gerard Dekker’s art.
Maybe with a tentative beginning.
Arno Kramer