Work / Projects
2010
de bunker/ galerie west, The Hague
2010
Now at Art Amsterdam, assigned by Kunstbeeld
2010
Cold Origami refers to the power of line. Thinking as a drawer, the line dictates the shape of thought for Lotte Geeven (1980). In this exhibition with new large-scale drawings and installations; the line folds an interior, breaks a grand mountain panorama and maps routes through strange cities and foreign landscapes. In its’ ambiguous character it explores the mechanism of memory of another place at another moment.
2010
2009
2009
2009
2009
Installation, Rijksakademie Amsterdam
2008
A series of photographs, Rijksakademie Amsterdam
The language of flowers, Floriography, was a early 19th century means of communication in which various bouquets and floral arrangements were used to send coded messages, allowing individuals to express feelings which otherwise could not be spoken. In the series “the colour code bouquet” I encoded 5 messages.
2008
Installation, Rijksakademie Amsterdam
The pipelines buzz and tick, feet click-clack over the floor and soft growling sound of a the city below crawls over the façade, glides over the windowsill, gently moves her way over the wallpaper onto the warm floor where it scatters into the exact measurements of the room. A sudden silence drops. I am standing in the threshold. Left foot left of the axis, right foot right of the axis of the perfect symmetrical room. If I'll move an inch, the room, the floor, the table the carpet and me will shift out of plumb.
As a temporary refuge, Room 02 is a zone in a state of flux where ephemeral sceneries from another room in another city are hauled in through the windows and coated, as a brief extra layer, in the space. It acts as a place where small memories take a passing shelter in the lee of bricks, carpet, floor and pipelines. In this gathering of seemingly unimportant background details, a dismantled and reconstructed blueprint of a fleeting state has been concealed. It behaves according to the concrete logic of repetitive patterns and shapes of everyday things where nothing is what is appear to be. (Room 02 is the third part of Hotel Insomnia, an ongoing project started in 2007 evolving around a maquette of an imaginary empty hotel.)
2008
A series of photographs, Rijksakademie Amsterdam
In the series “ In the White Room” I register the originate process of organisms. What would happen if something, isolated from rustling, would develop following an own internal logic? With this question in the back of my mind I started to build patterns in a white room that sprouted and were grown rank as hidden districts that rose out of an own ruling. In an experimental station the plants, balloons and garlands, taken put of their context, behave like organisms that flourish in assimilation, mirroring en dividing, shaping to a temporary equilibrated form.
2008
Rijksakademie / Amsterdam
Blueprintrooms is refuge where ephemeral sceneries are hauled in through the windows and coated into temporary rooms. Using my studio in the Rijksakademie as a construction zone, I will start to build and document rooms, corridors door handles and views of Hotel Insomnia. In a 12 months series of installations, drawings and texts I'll assemble to the Hotel, inch by inch, a place where things take shelter in the lee of bricks, wallpaper, floor, ceiling and sink. A domain where the ephemeral can condense.
2007
Mart House, Amsterdam
To research and map the border-area between me and the place I am staying, I stayed as artist-in-residence in New York and Xiamen questioning whether I would be someone else somewhere else, or look if perhaps identity and location would appear to be exchangeable ideas.
In search for an answer, I deliberately got lost, jump from bus to bus, ended op in the outskirts and found my way back home with my eyes and ears wide open. On site, I collected and systematically jotted down personal observations of the cityscape: fractions of conversations, a blossoming magnolia under a window, subtle changes in the colour of the sky above the city, the sound of rain in a park: poetical ornaments that are everywhere but define the character of their domain in the way they appear to me. These seemingly unimportant background sceneries enclosed the dialect of the location and formed scattered
landmarks of the border-area between the city and me. In Hotel Insomnia, with a series of drawings, light boxes and installations, I carefully reconstructed them as marks to another place that moved with me from one city to the other.
2006 – 2008
Ongoing series of large drawings and installations
A backyard as a laboratory for background details that grow into each other in layers on the paper. The area has a distinct set of conditions in which plants, animals and thoughts, that are copied, mirrored and researched, live in a geometrical repetitions in wallpapers, carpets and paper, in the way that nature fills up empty spaces as if she fears it.
New York City / Point B Work lodge / Xiamen / CEAC
29 A4 drawings
2006
During long strolls through New York and Xiamen I made dry notes of brief details that crossed my path.
- 11 am: lost in city, building miniature in puddle on the sidewalk, building gently sways
- 2 am: cold, pass closed restaurant, fish don’t sleep.
- 5 am: on pink bike, sunrise and fog, just before traffic jam
I started researching the collected city observations in search for strange coincidences, follow-ups, or combinations of notes. By dismantling and reconstructing these cities with seemingly unimportant details I wanted to make a small window to an immured miniature city, where small-scale risk lies in wait.
Xiamen, China / CEAC
2006
I drew an invisible seam around my territory in a strange city. A pink line around the block, so I don’t fade.
The homebrewed perfume is a reconstruction of the smell of the house I lived in. Ingredients: Spices, hibiscus, roasted garlic, detergent, magnolia, sesame oil & seaweed.
2004 – 2006
Research, working period / publication / presentation Art Rotterdam 2006
54 drawings / 54 days and nights in Tbilisi / Georgia
The sun was moving around the house and the city slowly woke up, this could have been happening anywhere but it happened here. Archiving all the small movements around and in the house in the form of drawings, I want to remember. To make sure that they were there and that I was there. Within the narrow space of an A3 paper, an inverse camera obscura image grew out of the movement of the city and me. New images were added and others got crossed away similar to the organic way Tbilisi grows; with no apparent plan or grid. All decisions as a logic reaction on the adjacent space, not on the whole. Eventually it became a map of us. Documenting my personal space and thought in the form of drawings, with images of buildings,
interiors, animals and skies, archetypical elements to be found anywhere but in their form and characteristics conceal the patina of a location, I construct a new form-language in the dialect of me the city. Of small alleyways, long grey days, buildings and evening strolls. During my observations the border between the city and me slowly faded. If you stay somewhere long enough you become the place itself.
2006
New York City / Point B Work lodge
By adding an extra layer of my rendered notes into the city itself I created a brief meeting between the two worlds. Thousands of bird species cut out from the New York Times move as a coloured swarm cloud through small alleyways and over the pavement. With New York City as a decor on the background, they map the route of the wind.
Series of installations
SHELL building / N - Building / Gallery Germinahof
In a desire to understand the world I collected encyclopaedically reproductions of cities, animals, plants and maps; a grid of images in which the complexity of things was reduced to a human scale. From a bird’s eye view I soared above this field, registering it in the form of drawings, objects and installations researching the ravelled outskirts of this area in search for new land. Looking for ways to reveal these hidden lands, without actually showing them, I created clouds of images that, rather than reveal, refer to this unseen domain of order. The world rebuilt in the clear form language of biology books as
my own models of attempt.
