Number 10 Art by Nature Magazine

Page 1




Hello Art by Nature readers! I participated in some amazing events this month and can't wait to tell you all about them. I hope I'm lucky enough to keep up this amazing schedule throughout this year. First off, I visited The First Art Fair and spoke with both the gal - lery owners and first-time exhibitors, Mishmash. In edition 9 I talked to Johan de Bruijn who told me all about Art Rotterdam. So I visited this fair too and enjoyed the huge number of artists and the diversity in their craft. In edition 9 I reviewed Michaël Calloux’s second book ‘Merveil leuses Couleurs'. In this edition I will give you a peak at his new project called Gardens' Rendez-vous. It's always an honour if an artist emails me to be in the magazine personally. This edition, we are delighted to welcome Charly Verger with her amazing artwork, and Marie Marchandise whose photo-gallery, 'Viribus', is inspired by artistic elements that are present in nature. Many thanks again to Stephen King, a lecturer in Media and Communications, at Middlesex University Dubai and his students for continuing to help me edit the articles for Art by Nature magazine.

You can follow the magazine

And share with others. Thank you and enjoy edition 9! Tessa Valk Founder, Editor-in-chief & Designer

by SK


LIKE THE MAGAZINE? Support the magazine

CONTACT ADVERTISE To advertise in upcoming issues click here SPECIAL THANKS TO Sjoerd van der Stok Cadform • Steven King of the Middlesex University Dubai • Katia Plewnia Labour of Art • Merel Slootheer • Bethany de Forest • Grant Garmezy • Eelco Brand • Pim Palsgraaf Marie Marchandise • Corjan Nodelijk • Henk Bezemer and Frank van Oosten • Michaël Cailloux • Alisa Lim A Po • Marie Marchandise • Charly Verger


No content may be used without permission of Art by Nature magazine. Photos of artists’ work(s) are owned by the artist (all rights reserved). All images are credited where it has been possible to identify the owner. If you find an image that is yours and you aren't credited, please let me know.





20 P HO


42 - 47 Gallery special

Publication 34 Gardens' first date MichaĂŤl Cailloux

16 CR A FT


er g e r B r ly V igh r a

t t h e s un

48 Nature's wannahaves

10 DIY

e lik

Art Rotterdam 44 Imitating Nature Eelco Brand 46 Animals in the city Pim Palsgraaf


5-33 First Art Fair 2 26 The reality of Corjan Nodelijk 30 MISHMASH Henk Bezemer and Frank van Oosten


or n ar ti s t

rie Marcha



a CM


al b

Nature's column 40 Nature’s Way: Adaptation Merel Slootheer

Lim A P


Behind the scene 12 Through the looking glass Grant Garmezy


isa Al


Nature through the eyes of 6 Seeing double Bethany de Forest





Seeing double During my gallery tour in Amsterdam I was lucky enough to arrive upon Gallery Koch & Bos, where a solo exposition of Bethany de Forest was taking place. In Art By Nature Edition 5 I was introduced to her work for the first time. She uses ‘pinhole’ photography and creates a realistic world in which you feel as small as an ant.

The starting point for all her photographic work is a model or diorama - where objects are arranged in such a way that an impression of a fantasy reality is shown. Pinhole photography For a long time I thought that getting this experience was only possible through the use of a pinhole camera. A form of photography in which a tiny hole serves as a lens. I mainly used the property of the infinite depth of sharpness that you obtain with this technique. Something completely in the foreground is shown as sharply as something far in the background. A lens always has a point of focus so that you actually betray that the world you are looking at is very small. Digital photography This entire method of working actually changed during the making of a stop-motion animation film. This was impossible with a pinhole camera. For this you shoot 24 images each second, each time shifting or changing something. But the environment must remain the same in terms of light and layout. This is visual, and not financially feasible with the pinhole camera. With my head in the dandelion diorama


" I USED TO HAVE TO CHOOSE FROM 20 PHOTOS AND NOW SUDDENLY THERE ARE HUNDREDS THAT ARE ALMOST ALL GOOD." I could suddenly see what I was doing and therefore also check the animation. Use was made of large wide-angle lenses so that the appearance of the image also came pretty close to the pinhole. The models had to be considerably larger, otherwise you could see the camera on screen too quickly. With a pinhole camera, that is not a problem because you do not recognise it as quickly as a camera, but if you see a large Nikon passing by in the background, it is a bit of a shame. What was also a revelation for me when making the film is what you can do with light. At the very beginning the only light source was a 1000 watt incandescent lamp that I swung back and forth above the model. Because the models were so small, you could only work with light shining through the roof. Because the models became larger, I got more opportunity to play. Now I sometimes have 10 lights around a model. I can see the effect of the light immediately and respond immediately. This makes it more controllable but not easier. I had to make choices in a very different way. I used to have to choose from 20 photos and now suddenly there are hundreds that are almost all good.


Stereo photography Digital photography also offered me the opportunity to work with other techniques such as stereo and lenticular photography. For my experiment of the stereo technique I found a company "viewmasterqueen" in zwolle that still makes viewmasters. The first results were really a surprise for me. I was suddenly able to look around 3D in my own models. With the Lenticular technique you

Stereo photo of 'Fennel Butterfly'

Stereo viewing

can see 3D without glasses. It is a method where you can make an image look 3D by 'moving' it. When the viewing angle is changed, the image also changes. The 3D effect is created by the ribbed upper layer. By using these nostalgic 3D techniques, an extra viewing experience of my models is created. The experience of a new analogue reality. v



More worldly cleverness to give you more nature-based inspiration in your life.



han < C

< Bookmark A lovely wa y to start reading your book. • D ifferent dr ied petals, leaves and herbs • Ribbons • Laminating machine • Dry glue • Scissors or paper cutter For more information visit spalvotasdry



s Dye l a r u Nat at ith w s th g e u n i h ent tic ow erim ntas nd yell a p f x some < E nk a are f my pi e r o He ! all true s) make s come pot( l m e a e e gs t dr ss s eel ton g rack e l n st ai ryin • St nless or d i e a n t ng i • S tori hesl s t o r l fo • C ns er spoo th lids land • Co uring i s) w as • Me n jar( aso d dye visit • M e on i s t u a n u form e in r o m mes For tiful u a abe

< Press ed Flowe r Resin Make you Jewelry r own un ique pre flower j ssed ewelry. • Two pa rt epoxy resin • Resin molds • Small plastic cups and • Toothp stir sti icks cks • Scales (optiona l) • Bezels • Packin g tape • Colori ng dyes or backg • Presse rounds d dried flowers • Sealan a nd leave t/adhesi s ve • Drill and odd cut of w ood For mor e inform atio beading n visit 11

THROUGH THE LOOKING GLASS GRANT GARMEZY Growing up on a 64-acre farm outside Nashville, Tennessee made Grant appreciate natural beauty. Waking up early every morning before school to go do the chores and take care of the animals gave him a sense of purpose and appreciation for their well being.

What was your route on becoming an artist? As a child, drawing and sculp­ting came very naturally; as student I excelled at visual presentations. My parents were very supportive of me pursuing my passion for art. When I was twelve, my parents gave me private drawing lessons with a successful cartoonist. Working with him led me to be accepted to the Interlochen Center for the Arts. It was there that I found a love for working with metals and jewelry. Later, during an art show, my mom asked Ben Caldwell, a metalsmith in Nashville, if I could apprentice with him. I worked for Ben my entire high school career from 9-12th grade at his studio every morning from 6-9am. Working for Ben, I learned a lot about the ups and downs that a career in the arts can have. I was awarded a place in Savannah College of Art and Design’s Rising Star Program, which led me to Virginia Commonwealth University’s (VCU) Craft and Material 12

Studies department, where I became acquainted with glass. Glass was unlike anything I had ever worked with. It was this amorphous blob constantly moving and hot! Working in teams, in a room full of loud furnaces and torches - an environment that I had never thought could be associated with art - I experienced a thrill and the excitement of success when a piece made it to the box. Glass is unlike any other material, but at the same time glass can be made to mimic any other medium. I can make glass look like wood, stone, fur, ice, lizard skin, anything. I was drawn to its sculptural qualities and I learned how to make a squid, a spinal cord, a lobster, a vulture, and even glass socks.

Grant Garmezy Making a Chameleon at Ignite Glass Studio

" I CAN MAKE GLASS LOOK LIKE WOOD, STONE, FUR, ICE, LIZARD SKIN, ANYTHING." While at VCU life was great. I was sculpting glass, getting lots of great feedback, winning awards, having shows and was even awarded a residency at the internationally acclaimed North Lands Creative in Scotland. After college, life became real. At the university we were taught to just work and success would come. So I worked until I couldn’t afford to make any more. Years went by where I had one or no shows. I tried to keep blowing glass, but with no money I couldn’t practice as much as I would have liked.

After some years I finally had the realization that if it’s going to happen, it would be on me and nobody else. I started learning about marketing and entrepreneurship. That year – I made it a goal to grow each day. Whether that meant applying for something, working on a piece, writing an email, or just sketching out ideas. I reached out to possible mentors, and to the community, sharing my process. I built an amazing team of fellow artists and friends that helped me create my work. I reconnected with old connections to help find new allies. I have BEHIND THE SCENE | ART BY NATURE


" SLOWLY I STARTED TO SEE RESULTS, MEETING THE RIGHT PEOPLE, GETTING MORE SHOWS, BEING ASKED TO TEACH, DEMONSTRATE, AND LECTURE AROUND THE WORLD." previously worked as a cameraman for a local TV station so I was able to score an interview with the anchor. I hosted an event every third Thursday of the month where anyone could come and see me work and experience the process. Here I met Jarrod of the J Fergeson Gallery, and he gave me my first show in Manhattan. Slowly I started to see results, meeting the right people, getting more shows, being asked to teach, demonstrate, and lecture around the world. I was asked to be a visiting artist at the Chrysler Museum Glass Studio for their infamous Third Wednesday event. One of the most amazing things about glassblowing



Visiting Artist at Ngwenya Glass in Swaziland Africa

is that there’s no language barrier — it’s an international language — and I was invited to present at two universities in South Korea. Since then I've been very busy! I've taught and demonstrated all over the world and was awarded the 10 Under 10 Award from Virginia Commonwealth University, honoring the 10 most successful graduates of the last decade. My work has been featured on the cover of Glass Art Magazine, and just recently I've started a YouTube channel sharing my passion for glass. Today you can still find me here in Richmond, where I am a full time glass artist. I'm super grateful to get to work with my best friends,

The Garmezy Glass Studio in Winter

Wake, by Grant Garmezy and Erin Garmezy

travel, meet interesting people, and do what I love everyday. Who and what inspires you and in what way? Today I am inspired by anyone that is pursuing their passion and hustling for their dreams. I love to listen to podcasts that introduce guests from all walks of life. Two of my favorites are The School of Greatness by Lewis Howes and The Tim Ferriss Show by Tim Ferriss. I'm also inspired by the natural environment. There’s something magical about living in the forest. I always feel like I’m part of some­ thing bigger but at the same time there is a feeling of solitude.

Can you take us through your creative process? My creative process usually starts from a few photographs of what we are about to sculpt. I like to have at least three different angles to help me recreate the 2D pictures into a 3D sculpture. From there I will draw the piece on the ground with chalk so that I can judge the scale of the piece, and then have a team meeting with my assistants to discuss the order of operations. Then we start gathering glass and go for it! v






For Charly nature is a part of her essence. She finds nature magnificent and it teaches her lessons such as to be true to herself, and it shows her to have humility. In her words: " The return to calm is to find oneself To find oneself is to move away from the useless To get away from it is to go back to our roots To return to it is to be in harmony with nature This harmony is called tranquility."

A moment of grace: Oil on canvas 92x65cm.


“ I LIKE PEOPLE WHO ARE NOT LIMITED TO ONE THING AND HAVE MANY TALENTS� In what way did creativity play a role in your childhood? Creativity plays the most important role in my childhood because I always a solitary person. When I was four years old I started to draw. It was a way to express my feelings about the world. At the age of five I created my own magazines. Animals are essential in my life. Their beauty is fascinating, as is their diversity. I have a dog and two birds. I used to stay for hours watching them. I was happier to draw at home than to be at school. I imagined adventures, and that led me to read a lot. This is how I discovered the worlds that inspire me, learned in different fields. Science and philosophy fascinated me the most. Who and what inspires you and in what way? Nature and animals (especially birds, ornithology is a passion), science and writing. I try to stay neutral so as to not to be influenced, I want to create my own world and to evolve in it. I do lot of introspection. I search for the mystical. People that inspire me for the beauty of their universe (not only artistic) are Michael Parkes, for the poesy of his paintings and his talent. Il Carravaggio for the power of his paintings and his precursor side. Georges-Louis Leclerc


de Buffon because he was a naturalist, mathematician, biologist, cosmologist, philosopher and a writer. I like people who are not limited to one thing and have many talents, who are curious about everything. I like what is intellectual. These people are inspiring and motivating. Can you take us through your creative process? My artistic process can develop in different ways.

The crossing worlds: oil on canvas 146x 114cm.

Sometime it starts with a word, a sentence or picture that appear in my head. Sometimes I don't find inspiration for weeks, and that’s really frustrating. But I keep on going, knowing that ideas are just around the corner. My work is constantly evolving, because I'm never satisfied. I work a lot on my compositions because I want to take the viewer to different forms of pictorial reading. There are hidden meanings. I use various elements,

such as musical elements for example. Of course, each element has its importance and is not the result of chance. I do specific research so that everything is harmonious and coherent. In addition, my recent paintings are accompanied by my writings. These paintings will be presented during this year 2019. by SK




VIRIBUS WITH MARIE MARCHANDISE I've been photographing since I was a teenager. I first taught myself and my ultimate goal was to capture memories from my daily life. For my 17th birthday, a friend offered me a collection of photographs from Life Magazine and this made me obsessed to catch every detail, playing with light, and to express myself without uttering a word. Since then, I haven’t been able to spend a week without being behind my camera. M arie’s work is inspired by the artistic elements that are present in nature.



“ MY WORK IS DEFINED BY MY HYPERSENSITIVE NATURE.” How did you become the artist that you are now? I want to show my identity through my photographs. This means that my work presents, me, who I am, and not what trend is hot. My work is defined by my hypersensitive nature. It makes me proud when someone recognises a photograph I took. Being an artist means to stay true to myself and not let my work be influenced by what people want to see.

Which photographer inspires you in your work? Eliot Elisofon is one of my greatest sources of inspi­ration, because he introduced social problems with an artistic pers­ pective. Each of his photo­graphs tells a story, not only because of the person being photographed or the situation, but because of the depth of field, and the framing or the composition. I pay attention on these elements.


The parallel between man and nature is at the core of Marie’s personal work.

Could you enlighten us with the story behind this documentary? I want to show the metaphorical relationship between man and nature. Nature is stronger than every­thing and man should be more than inspired from it. Nature is a real source of power. In the background of my compositions, there is the idea of a dialogue between man and nature. This metaphor is told through a sort of narrative scheme. I wanted to underscore the force of nature through close-ups of muscles, three-quarter shots, and disorga­ nized compositions. Man can embody the intensity and the dynamism of nature, and also the concept of positive cohabitations for man, in a natural area. v

by SK

When she works for a brand, a store or a restaurant, Marie loves to link her photography’s services with nature.





Spreading the news through social media feeds and newsletter subscribers (total 10.000) 24


" Let me tell your story as an artist the right way."

Interested? Feel free to contact Art director Tessa Valk for the possibilities.

To start the year of with art fairs I visited the First Art Fair. I had a graet experience, the gallery owners where very open to talk with me, and it gave some great input for this article.



THE REALITY OF CORJAN NODELIJK As a composer and professional questionnaire Corjan creates creatures mostly people or animals - which seem remarkable. He knows how to disrupt the traditional image that the viewer has of his subjects. I found the work of Corjan at Galerie Année which looks like a still from a fairytale or an ancient world. The individual animals, who are never to be found in an animal encyclopaedia, are occasionally composed of two or more species - stretched, extended, widened, shortened, or some other way direc­ted by the artist in his inspired spirit and creative hands. In spite of this, his work is not sur­real. The reality of his pieces are

Drifter, mixed media



unquestionable because Corjan injects wisdom and poetry into his compositions. The artist's hand determines their anatomy and as a result, the sculptures defy every natural law. The sculptures present themselves on one side in a picturesque way, on the other side decorative, so beautifully aesthetic, as only art or nature itself creates. Even the human figures of Corjan are from time to time mysterious, orientallooking messengers of cosmic worlds with their own dress codes. The works are never zin motion, oron erratic paths, rather they are contemplative, inward looking and always in the best place. In the here and now!



Architecture of Flowerbeds I | 2018 | collage of brass elements | 100*140 cm | acryl on brass




NATURAL BORN ARTIST The nature of Alisa’s work reflects on various aspects of human behavior and emotions, like happiness, grief or fear. Alisa creates unique, conceptual series of artworks from her personal experiences and views. Her art is defined by a colour­ful palette and the skillful combination of different materials and techniques. T Walking past Van Loon Gallery I saw this mesmarizing piece which took nature's inspiration to it's own level.

Becoming an artist Starting out at the art academy in Den Bosch as a student in graphic design, Lim A Po soon realised the Bossche School was not a right fit for her. She decided to change to a career in media and advertising, settling in her home town of Amsterdam. Yet, some twenty years later, she could no longer withstand the inner urge to create fine art. Inspired by some personal tragedies, Lim A Po moved from advertising to art. With focus, ambition and a strong drive, she set out in search of her artistic voice, which she soon dis­ covered. Being an artist fitted her like a glove. She was bursting with ideas, and within a matter of months her works outgrew her home. She rented a studio in a large office building in Schiphol-Rijk, where she continues her creative journey.

around her during her early years, with different styles from different eras at her disposal. Old Dutch Masters and Russian art, but also Chinese and Surinam artworks inspired her. All these different art forms had their impact on Alisa’s development as an artist. One of her personal favorites was abstract expressionist, Mark Rothko. His vision and his large-size colour-field paintings are a constant source of inspiration. In her recent cut-out collages - part of the Elementsseries - we see the influence of pointillism and impressionism, but the artist also hints at French fauvist, Henri Matisse.

Inspiration Alisa originates from an art-loving family. Her grandfather is an art collector and her parents took their collection a step further. Art was all 29



Assemblage: ‘Didn’t we had a blast?’ mixed media.



MISHMASH WITH HENK BEZEMER AND FRANK VAN OOSTEN Henk Bezemer and Frank van Oosten met at the theater, as actors, and hit it off. From there they started to design decor and costumes, and later more and more often murals in shops and restaurants. In 1991 this all came together in the combination of art and interior design which they named Mishmash. T At the stand of gallery Bob Smith I found the work of Mishmash. Sadly enough Bob was sick, that's way I got to talk to Henk and Frank themselves.

was first in the theater, then interior design and art. Eventually we realised it is all the same, and we wanted to tell stories through our work.

Mishmash, or 'mengelmoes' in Dutch, can be described as a mix of decor, design and art. In a building on the Lombardkade in Rotterdam, founders Bezemer and van Oosten bring their own art, that of others, as well as design and craft together. That's how they design the soul of their interior.

Who and what inspires you and in what way? A beautiful interior or a very bad, tasteless interior.

In what way did creativity play a role in your childhood? We both started to draw in our childhood, we also played with lego and blocks, making wooden carts and huts. Frank was educated in drawing, craftsmanship and art history, and Henk studied law. We both had to 'detox' ourselves from these studies in our own way and decided to only do things that we really wanted for the rest of our lives: that

Traveling - other cultures, nature and landscapes, a good journey will provides us with insights, inspiration and pleasure for years to come. People who dare to think out of the box, who mix different disciplines, who are stubborn and dare to do, for example: Architecture by John Lautner, Philip Johnson or Cesar Manrique. Artists like Cai GuoQiang, Fabienne Verdier, Andy Warhol and Keith Haring. Interesting designers such as Dorothy Draper, Piero Fornasetti, Dimore Studio and Jonathan Adler. Film and theater dĂŠcors, absolute favorites 'Les Parapluies de Cherbourg' with 31

Catherine Deneuve, 'The Party' with Peter Sellers and 'A Single Man' by director and fashion designer Tom Ford. Theater and dance as made for example by 'Conny Janssen Danst'. Can you take us through your creative process? We are surprised by coincidence and chance finds. Sometimes that is a color combination, a bizarre form of a flower, a shell on the beach or a building in a city. If it appeals to us, then an idea is formed. This is also the reason why our work is so diverse. Many perspectives are possible. We experience this as an enrichment, and we don’t want to be forced into just one particular direction. Everything we do is conceived and created by both of us. Never at the same time of course, that is practically impossible, but one starts something and the other continues with it. The construction works arise. The objects that are incorporated in the 3D artworks are a collection of finds. Found in markets, auctions, legacies, holidays and many useful contacts. Sometimes we literally find something on the street or in nature, but often we also buy things.

blowpipe with a glass part Photggrapher: Gordon Parks

Ctenophora drawing and process Henk and Frank working on a big mural.

We also work with murals. We’re used to working with several people on a project from working at the theater. Since 1991 we have started working together under the name Mishmash. But even now, when we are busy with something very big, we also include other people when necessary. v by SK


Inspiration: the striking flower of Tigridia pavonia which blooms only 1 single day.


inspirational works and artists Assemblage ‘In Omno Incommodo Commodum Est’ mixed media.

From left to right the finished mural and interior design in brasserie ‘Burgerzaken’ in Ridderkerk. Inspiration: The amazing interiors of Cesar Manrique on Lanzarote. ‘Phoenix, the garden girl’ oil on canvas.



GARDENS' FIRST DATE MICHAËL CAILLOUX Since our last edition where I spoke to Michaël about his book “Merveilleuses Couleurs”, I have become aware of another of his amazing projects called Gardens' Rendezvous. The objective is to invite the widest possible public, to visit parks and gardens to participate in pedagogic exchanges to share tales on the many actions taken to protect, maintain, restore, and to create gardens, as well as to train gardeners and landscapers.




" I K EEP IN M Y M IN D ST U DIES OF E ACH EL E M EN T, BU T T HE Y REFLECT MY OWN STYLE OF CREATION A ND MY PERSONA L UNIV ERSE." Thanks to my gallerist, Nathalie BĂŠreau, I was in connection with the Ministry of Culture for the launch of the annual Gardens' Rendez-vous which take place in France and now in other countries across Europe from June, 7th to 9th. Today, biodiversity is a key challenge. The drawings of animals and flowers I make are based on real-life. I keep in my mind studies of each element, but they reflect my own style of creation and my personal universe. Each part of the ecosystem has been analysed and presented with a cheerful meaning. I'm not a scientist but I wanted to be precise according to the specifications. The poster and all the campaign elements created for the Ministry of Culture is full of details inviting people to scan the composition without losing sight of the impact of the message.

Pictograms Gardens' Rendez-vous Poster 60 x 40 cm Gardens' Rendez-vous



MichaĂŤl working on drawings for Ministery of Culture of Culture.

" AT LAST, I DID NOT FORGET TO REPRESENT BEES AND THEIR CRUCIAL ROLE FOR THE BALANCE OF THE WORLD." The poster has a strong visual position with the choice of a special typography and a rising composition. It is also playful thanks to the diversity of species, plants and flowers and their contrasting colors. The ecosystem is created by all the elements mingled and interlocking together. Each one has his role and function. For the fauna : golden beetle, ladybird, bat, viper, frog, hedgehog, lizard, shrew, birds. For the flora: wildflowers, tomatoes, strawberries, poppies,



marigolds. This is both a pastoral and a vege­table garden, able to nourish the entire human being. At last, I did not forget to represent bees and their crucial role for the balance of the world. Their disappearance is a cause of concern. In the face of the current situation, they are the mandatory signature of the poster, and fly lightly. v by SK

I’m a dreamer, maker, designer, goldsmith, collector, biophile, citydweller living in Haarlem, The Netherlands. I approach the creative process as I would extensive research and trans­late my findings into all sorts of creations. With my work I try to make sense of things I don’t understand and question what might be considered obvious. Here's my column!


Barnacle boot on a bed of rope; all found on the beach of Bloemendaal by Beach Clean-up Foundation & Social Upcycle Studio Juttersgeluk.


I experience a change of scale when setting foot on the beach. The salty water stretches beyond my gaze. There’s an abundance of shells and uncountable amount of tiny grains of sand. There’s no plan, just a natural logic. Even seagulls seem to be in realistic proportions in their natural habitat, they’re actually not that big when they spread their wings above the sea.

A stark contrast to the city, where you won’t find a horizon or intentional randomness. Everything is planned and not without a reason. We humans bring enough chaos to this outlined situation by just… well… simply living our life. I consider nature to be a very welcome guest to this urban party. Creatively using the surface of the city to its needs. Growing on concrete, sprouting from cracks in the pavement and filling up gaps of nothingness. At the beach this ratio of culture and nature seems to be the exact opposite. A beautiful, spacious decor where mother nature is the main character and humans function merely as extras. Or at least that’s how I think it should be… I know that in reality the barnacle covered trash I find at the coastline is only a fraction of what’s going on in the water. Every ocean, sea and beach is infested with plastic. The past few years so much information about this form of pollution and its consequences has been released that turning a blind eye is simply not an option. With our culture of

’single-use’ we created an enormous amount of non-degradable garbage, a new unnatural enemy to all living: a plastic-pest. When the first plastic, based on a synthetic polymer, was invented around 1900 it was considered a new exciting material with endless possibilities. Why did this promising material end-up being downgraded to a non-material? Single-use denies plastic to be what it actually is: a material. In response to the current situation conscious creatives started to acknowledge existing waste to be a new kind of raw material, resulting in some beautiful recycle, up-cycle and re-use initiatives. With the amount of plastic we’re dealing with already, producing more seems unreal. But in my most dystopian thoughts I wonder: what will our future sediment look like? Will the usual layers of gravel, clay, sand and silt be replaced by PET, HDPE, PVC, LDPE, PP and EPS? v by SK




GALLERY SPECIAL ART ROTTERDAM DISCOVER THE NEW WORLD In edition 8 I talked to Johan de Bruijn one of the founders of the Gallery Viewer. His partner Fons Hof is the director of Art Rotterdam the fair to discover young artists. T

Out of the 90 galleries, I’ve chosen the ones whose art speaks to me the most. I talked with gallery owners Andriesse Eyck Gallery, Galerie Fons Welters, Galerie Caroline O'breen, Akinci, Galerie Wouter van Leeuwen, Rademakers Gallery, NL = US, I will share a bit about the artists I found interesting and their work in this special feature.

by SK





Imitation is a part of being human. Eelco Brand uses both paint and digital techniques to create images that reflect his perception of nature. In this sense his works are not so much the depiction of an actual place or event, but the way he imagined it and modelled it in the calculated space of digital art. T I found this versatile work at the stand of Gallery Torch. Seeing his video animations it’s almost un­believable that this is made from absolutely from nothing. But when you see his 3-D works it’s clear that Eelco understands form in all its glory.

What made you decide to change from painting to working with a computer? Painting largely consists of adding and removing elements. You work on an image that evolves through its own logic. For me, constructing a 3-D image is the same as painting. But the fascinating thing about working with 3-D constructions is that you can enter the virtual space behind the two- dimensional surface and, more importantly, you also have the possibility of animating a scene. This means that suddenly you can go beyond the static medium of painting, and can add both movement and sound. This has created completely

new ways of constructing and presenting works. The scenes I construct as prints or animations are virtual and hand-made. I don't use photographic materials or scanned images. Many of your works deal with nature; is there any specific reason for this? Working with nature is challenging because it is virtually impossible to even begin to approximate its infinite sophistication. Yet nature and landscapes also involve a universal language and experience. Curiously, landscapes as we see them don't actually exist. In reality they are simply a collection of randomly located trees, hills and rocks, which we mentally translate into landscapes. Reality is reconstructed in the human brain, and this reflection has a similar immaterial quality as the jumping electrons that create a computer-generated image.


Construction process




The studio of Pim is located in the industrial section of Rotterdam. His love-hate relationship with this environment is fundamental for his art.

When I saw Pim's work at stand of NL=US gallery I couldn't believe what I was seeing. T

Do any artists inspire you? There are quite a few artists who inspire me. Famous masters like Anslem Kiefer and Richard Serra inspire me through the scale of their works and in the way they use raw materials in their pieces. Painters like Neo Rauch and my friend, Tim Kent, inspire me because of their amazing use of colour, and performance artist and friend, Toine Klaassen, inspires me in the way he brings his life into his work! He uses the Dutch urban landscape to harvest materials for his installations and creates ritualistic performances as the Dutch bushman. How do you get inspired? For the last few years my largest inspiration source is the annual project I organise together with eight other international artist in the east of Germany, entitled 'If paradise is half as nice'. We use abandoned factories

Photo MarcelKollen

" I AM INSPIRED AND AMAZED BY THE DECAY PROCESS..." as temporary self-organized 'artist in residency'. This means that we work and live for five weeks in these abandoned factories and organise after this working period a large weekend public exposition and all the projects are shown. I am inspired and amazed by the decay process and irregularities in the city and especially the discord between nature and urban elements. These abandoned places, where you actually can feel and smell the decay around you, feel right in the middle of this grey area between man’s construct and nature and raise elementary questions about the concept of time, especially how nature and urbanism struggle with each other and that time eventually eats everything.

have attached them on buildings or architectural shapes, around empty spaces, so the works look as if they are almost organically growing city tumors. These were mostly built out of materials that I find around me. v

The 'Mycose City' installations that were developed during these pro­ jects are based on architectural city structures that grow like fungus. I

From left to right: Multiscape 15 Pim Palsgraaf in the kunsthal Last two images of 'If paradise is half as nice'




haves by SK

Halo planter A floor standing plant light. The Halo sur­ rounds the plant which is fed with a special LED light to enhance growth. The halo creates a frame around the plant which is pedestalized and highlighted inside the room.

Sawdust ‘50% sawdust’ by israeli-based Ulla Design Studio is a project that evolved from the development of a new design method based on material research. In this case, the combination of two different worlds of waste – wooden sawdust and plastic bags.



Rhino Knife Sharpener Charging in to sharpen your day. The Rhino is always ready for action, within a moment’s notice, to keep your knives shiny and sharp.

Reflections mirror This is a garden art installation. The idea is that a mirror is turned round by the wind and creates a fun and surprising experience for the viewer.


At the moment polyethylene elements make up only 1-2% of the toy brand’s products but the company has committed to use sustainable materials in its core toys and packaging (and to reach zero waste in its operations) by 2030.


Next time



Nature's Wannahaves

Behind the scenes

Through the eyes of

Photo Doc

Gallery Special

Nature's Column

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.