Number 6 Art by Nature Magazine

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Hello Art by Nature readers! Edition 6 was a real journey, as I’m working towards taking Art by Nature Magazine to the next level. This edition is not only about artists and their amazing work, but also about where I want to take this magazine.

I talked with Kilian of Let’s Explore Magazine, creative coach Claudia Mayer and Marijke Kolk, a well known magazine creator and teacher at the University of Utrecht , about their ideas on creativity, magazine creation and my baby, Art by Nature Magazine.

Artists featured in Art by Nature Magazine use my platform to show their original, professional and creative journey on a per­ sonal and meaningful level. Every edition features content series such as: Behind the Scenes, Through the Eyes of, Inspired by Na­ ture, Photodoc, Gallery Special, Design by Nature, Nature’s Wannahaves and DIY, as well as seasonal content.”

“I started Art by Nature Magazine as a way to find new insights for my own work. For me, nature stands for transcending to another world, a world without the stress of daily life.

I’m taking my time this year, so I’ll only be putting out 3 issues instead of 4, which gives me more time to dig into the content and layout of Art by Nature Magazine. It is a work in progress and wouldn’t be possible without the work of all the great artists that are featured in this magazine.

My sources of inspiration are artists who step from behind the curtain and share how nature feeds their imagination. I communicate directly with them and let them tell their creative journey in their own way. As a passionate story­ teller I bring readers and artists together. Art by Nature provides in-depth creative understanding from artists around the world.

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And share with others. Thanks! Tessa Valk Founder, Editor in chief, Designer

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SPECIAL THANKS TO Danielle Spires of Danielle Spires Photography • Katia Plewnia of Labour of Art • Jasper Duijf of CreativeMornings Utrecht • Titia Ex • Freda Wilken • Mattie Mallernee • Carol Roullard • Aníbal Vega-Almeida of Museo Atlántico • Fluke • Marije Lieuwens and Rob Wetzer of Fotodoc • Diana Scherer • Drew Nikonowicz • Garret Kane • Genevieve Mariani • Irena Murphy • Anita Yan Wong • Dreas Evers • Joannet Peeters of Next Nature Every person who is in this magazine has been contacted by email. No content maybe used without permision of Art by nature magazine, photos of artist (work) are owned by the artist (all rights reserved)


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28 Through the eyes of Fluke 33 – 43 Gallery special Fotodoc Diana scherer The root of the root Drew nikonowicz Bringing digital and analog live togetrher Rob wetzer Curator 45 Behind the Scenes Garret Kane Mim-ic-cry (n): 53 Craft by nature A nita Yan Wong Brush away

50 Scenes of Nature Irena Murphy Iceland part 1 56 Diy


ebshop of W Carol Roullard Cristal art to wear 24 Opening The Museo Atlántico Opens its doors to the world


Nature’s Wannahaves



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6 - 8 CreativeMornings Introducing Inspirational talks Titia Ex Light is a promise Inspired by Nature 15 Mattie Mallernee Written in the stars 58 Dreas Evers Back to the roots

12 P ho to

60 D esign by Nature Rayfish Footwear




In 2008, Tina Roth Eisenberg (Swissmiss) started CreativeMornings out of a desire for an ongoing and accessible event for New York’s creative community. The concept was simple: breakfast and a short talk one Friday morning a month. Every event would be free of charge and open to anyone. At the moment I'm writting this article there are 163 chapters (cities) where CreativeMornings is held.

Karlijn Moll and Michael Hastrich started CreativeMornings Utrecht in 2012 and I attended occasionally. Wondering how I could repay them for organizing this fantastic event, I started as a volunteer graphic designer for them. After 5 years, Karlijn and Michael handed over the reins to Jasper Duijf. Starting this year, I will design articles for the speakers at CreativeMornings Utrecht who fit the magazine theme “Art by Nature”.




titia ex




The first of this series is Titia Ex, a light artist whose ideas are shaped by the experience of space. Most of the works by Ex are experienced as they arise in space.



" FOCUSES IS ON THE RELATION­SHIP THAT A WORK ENTERS INTO WITH ITS SURROUNDINGS." You can adopt several standpoints vis-à-vis this work, and view it from various angles, by crossing the spaces in which the artist places her work.You can be as subjective as you want, because she allows you the space to do this. Her style is personal and distinctive. Applying a coherent and intrinsic methodology, she employs a clear and legible visual idiom. She might, for example, use a figurative interplay of lines in neon light. This means Ex plays with the minds of viewers who think they are famili­ ar with the significance of her use of materials.


Ex works with light, movement and spatial perception. She focuses on the relationship that a work enters into with its surroundings. The history of a site or the current use of the space plays a significant part in the interpreta­ tion of her works. Inspiration To me public space is a living organism. Public space is not a saturated or static space but an expanding area. The ever-changing environ­ ment has a huge impact on human behavior, on our values and our (inter) actions.

Art in public space can mirror this continuous process of inter­ action between people and their environment. It can draw the en­ vironment from its anonymity and establish different, new and unexpected connections, creating new perspectives on space and time and adding new relational experiences. Proces Working with light in public space is working with movement, trans­ parency and time, all in one. It is a quest to find the rhythm - people in motion, contemplative or en route to somewhere else - and how to apply a poetic echo to this rhythm. The work is always in a dialogue with its physical surroundings and is incomplete without it. It joins the space without being absorbed by it. It makes a natural connection bet­ ween space, material and viewer. Flower The interactive LED light instal­ lation Flower from the Universe, records the colours surrounding it and transfers these to the ‘petals’. The brain cell in the heart has illuminated offshoots. A dynamic interplay is created with both the viewer and the surroundings influencing the light flower. v ART BY NATURE

The Waiting

F lower from the universe:











Freda Wilken

I started my journey into floral design when a friend asked me to design her wedding flowers in 2011. I was hesitant to agree since I’ve never worked on flowers before, however it sparked my interest in flowers. A few months later I completed a City & Guilds Level 1 Floristry diploma in London which really opened up so many new creative visions for me, not only in the floristry industry, but also in the art world. I began researching Floriography after reading a book by Vanessa Diffenbaugh titled, ‘The Language of Flowers’, it took me to new highs. You cannot help but relate this to our fragile human condition and the constant strive to preserve life itself. The same is true when preserving ART BY NATURE

flowers for an event; from the way you treat them to the right conditions needed to prolong the beauty of its presence, every action you take is important. Through studying The Language of Flowers, I began to understand their significant, symbolic and historic use going as far back as the Victorian era. It was during this time when the use of flowers to convey a message was most predominant, which was a long period of peace, prosperity and natio­ nal self-confidence. I get this same sen­ se of peace, prosperity, fertility and life through floriography, which rings true to Shakespeare’s quote, ‘These flowers are like the pleasures of the world’. v




Mattie Ma l l e r ne e I am a prolific artist inspired greatly by nature. My love of nature shows even in my abstract works. I create art in a limetless way. This comes from my dream to escape adversities and desire for my art to bring hope and enjoyment to others. Art is my passion and future and I look forward to sharing it with you. v





Design products are made to be used, then disposed, which creates an incredible amount of waste and a ‘disposable culture’. TERRA! is a living product, it grows like a tree grows. As the world around you grows, so does your Terra!


Frozen in time The beauty of nature, preserved and strenghtened through resin-casting to last a lifetime.


Wooden acorn Speaker This tiny acorn-shaped speaker is about 1.4” long with a 1” diameter. Like a real acorn, the speaker is two-toned and wood, but the hidden perk is the battery lasts 10 hours



White Wig Flower Vase

This set’s unique texture is molded from an oak branch, then processed into a bronze blow mold. This techni­ que creates oak bark texture just like the original branch, complete with a live edge detail.

Wig Flower Vase is an ironic and playful head-shaped ceramic vase inspired by Amedeo Modigliani portraits. Give your green thumb a chance to shine by styling “hair” from flowers!







Carol Roullard is an artist and fashion designer who photographs homegrown microscopic crystals through a highpowered microscope. Carol has merged her love for science, experimentation and art, to show us at times magical, at times realistic world of microscopic crystals. Her beautiful art is printed on large aluminum sheets, paper, even clothing and purses.

T How did you get started with your art? C I love the positive emotion one can feel when surrounded by beautiful art and nature. I started taking pictures of na­ ture with a brownie camera. I would arrange rocks, leaves and twigs on a table and shoot black-and-white photos.

I find the patterns, textures and color mesmerizing in both nature and manmade works, especially architecture. I’m also captivated by science in general. About 10 years ago I saw a presentation about crys­ tals through the microscope. This hidden world of intense structures, incredible colors and unique patterns drew me in. It became a calling; one I wanted to share with others.

“Plume” - Iridescent common anesthetic crystals sweeping like a feather. ”Plume” Crystal Art Outfitters “Psychedelic” Crystal Summer Dress, image by STRUCK­

T Can you describe your artistic process and what you enjoy most? C I grow the crystals on micro­ scope slides and view them through the microscope with my camera attached. Then I search for an image that I'm drawn to and must have.




Anna Ruck of STRUCKBLOG wearing Crystal Art Outfitters Light and Cool Crystal VIP Silk Scarf


“Rainbow Falls” from Unexpected Sights Series, Carol Roullard Art’s Blog

I use the microscope’s lighting, filters, and other tools along with the camera’s, to stage the image and take a series of photos. I view and work with my photos on my computer to create the final image. I never know what I will find when I look at each set of crys­ tals. To me this is a magical world filled with incredible and expressively charged sights. I love to experiment with and create my micro-crystals, set­ ting the lighting, adjusting the microscope filters and cap­ turing the subject’s intensity, uniqueness and beauty. I wish I could show you what it is like to view the crystals through the microscope and search for an image that cap­ tivates ones imagination. The intensity, unbelievable imag­ es I get to see, can often take my breath away. My process includes more than just taking pictures.When I see something I want to capture, I work to stage the image, set the light­ ing just so, adjust the color bal­ ance, and establish the focus for my desired depth of field. T Are you inspired by any artists? C There are many artists I'm in awe of and feel moved by their work. My absolute favor­ ite artist is Van Gogh.

“Shoreline” - Award winning art printed on aluminum. Imager is of hydroquinone crystals



He epitomizes creativity, brea­ king the trend and coloring outside of the lines. I love his vision for the textures, patterns and flow he created in his art. He created so much more than just the image. His imagina­ tion, ability to convey feelings, movement and meaning, more than just painting the subject, is amazing and he did this at a time when it was not con­ ventional to paint outside the lines. Your artwork resembles things found in nature. How do you find these in crystal structures? C It’s a lot like looking at clouds and recognizing ev­ eryday objects or scenes in them. I experiment with the images digitally and create new art. Another artistic ave­ nue in my process is mixing multiple chemicals together and seeing what types of crystals form.

Carol Roullard melting chemicals to create crystal.

Crystals forming on microscope slide while the melted chemicals cool.


How did you get started in printing your artwork C For years people told me that my art would be lovely on clothing. I started search­ ing for a printing company and experimenting with dif­ ferent fabrics and silhouettes. I launched my fashion brand ( last year and it’s been a real success. Recently my art has been picked up by a licensing firm, which prints on cloth­ ing. That was very exciting. T

21 Carol Roullard at her microscope with camera viewing crystals.

" TO ME THIS IS A MAGICAL WORLD FILLED WITH INCREDIBLE AND EXPRESSIVELY CHARGED SIGHTS." T What can we see from you in the future? C I want to expand. I love creating digital collages by combining pieces of my imag­ es and creating new images. I'm always experimenting with new chemicals to crystal­ ize and photograph. I would love to collaborate with other artists like a fine wood crafts­

man, to combine rich wood boxes and tables with my art. I wish to expand print­ ing my art on such items as tile, dishes, rugs, bedding and other household goods.


Is your design inspired by nature and do want to be in the next edition? 22

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OPENS ITS DOORS TO THE WORLD The president of the Cabildo of Lanzarote and the author of the work, British eco-sculptor Jason deCaires Taylor, introduce a project that “represents an entry point to a different world and promotes a better understanding of our precious marine environment and of how much we depend on it”. Lanzarote, 10th January 2016. The Museo Atlántico of Lan­ zarote opened its doors to the world today, as the first under­ water art museum in Europe.


The internationally acclaimed sculp­tor Jason de CairesTaylor has installed the final phase of his last project “Museo Atlántico”, the first underwater contemporary art museum in Europe. Located in the coast of Lanzarote, Spain, it is a 14- metre deep, unique and permanent exhibition. The creation of this monu­ mental project has taken two years to complete and it aims to


create a strong visual dialogue between art and nature. It has been designed from a conser­ vationist approach aiming to create a large scale artificial reef. The first parts, installed


in February 2016, have alrea­dy experienced a significant in­ crease in the levels of genera­ tion and abundance of species, and are already being frequent­ ed by angel sharks, shoals of barracuda and sardines, octo­ pus, marine sponges and the occasional butterfly stingray.

This is the first time that Taylor installs architectural struc­ tures of such magnitude. The new installations include a 100-

tonne and 30-metre long wall; the sculpture of a botanic garden that makes reference to the local flora and fauna, and a set of 200 real size human figures that make up a human whirlwind. The museum takes up 50x50 metres of lifeless sandy sea­ bed, built with neutral pH materials that respect the environ­ment, and all the pieces have been designed to adapt to the endemic marine life.

The museum includes new installations which can be found on the next page. The artistic installation reminds us that we have evolved from marine life, and are all subject to the movements and will of the ocean. The piece embod­ ies our naked vulnerability to its inherent power, and our fragility in the face of its cycles and immense force. It pro­ vides the oxygen we breathe, it regulates our climate and it provides a vital source of nu­ trition to millions of people. A visit to Museo Atlantico may lead us to a closer under standing of our relationship ­­ with the natural marine envi­ ronment and appreciate the need to value and protect this fragile ecosystem in or­ der to save ourselves. We hope that a visit to the Atlantic Museum lead us to a better understanding of our relationship with the marine environment and to appreciate the need to value and protect this fragile ecosys­ tem to save our own lives.




1. Los Jolateros


2. Immortal 3. The Raft of



Lampedusa 4. Disconnected 5. Crossing the Rubicon


6. Hybrid Garden 6.1 Hybrid Dragos 6.2 Hubrid Nopales


6.3 Hybrid Roots 7. Abyss 8. Portal

6.1 9

9. Deregulated


10. Hybrid Tubulars


11. Photo Op 12. Human Gyre


6.3 8 4

2. The Immortal Molded from a local fis­ herman from La Gracio­ sa island, on the north coast of Lanzarote, the sculpture is made up of a series of concrete sticks and it is repre­ senting a traditional funeral pyre.


5. Crossing the Rubicon Crossing the Rubicon consists of a group of 35 figures walking towards an underwater wall and en­ trance, a boundary between two realities and a portal to the Atlantic Ocean. The wall, which is part industrial, part organic, stretches 30 metres long and 4 metres high and contains a single rectangu­ lar doorway at its centre. The wall is intended to be a monument to absurdity,

a dysfunctional barrier in the middle of a vast fluid, 3D space, which can be bypassed in any direction. It emphasises that the notions of ownership and territories are irrelevant to the natural world. In times of increasing patriotism and protectionism the wall aims to remind us that we cannot segregate our oceans, air, climate or wildlife as we do our land and possessions.






9. Deregulated Deregulated consists of a children’s playground enjoyed by suited businessmen. A swing, a sea-saw, a play dolphin ride all demonstrate the insouciance and arrogance of the corporate world towards the natural world. The sea-saw referen­ ces a petroleum extraction pump, a comment on the control of these fossil fuels and their unregulated use. The dolphin ride is indicative of the burden we are placing on mari­ ne species and its ultimate collapse if left unchecked.

8. Portal The Portal depicts a hybrid animal/ human sculpture looking into a large square mirror, which reflects the moving surface of the ocean. Forming part of the underwater botanical garden the concept is intended to portray water within water, an interface or looking glass into another world, the blue world. The mirror is elevated on a series of cactus forms which contain a series of small compartments and “living stations” designed to attract octo­ pus, sea urchins and juvenile fish.

12. The Human Gyre The Human Gyre includes over 200 life-size figurative works creating a vast circular formation or gyre. Consisting of various models of all ages and from all walks of life, the positioning of the figures constructs a complex reef for­ mation for marine species to inhabit and is a poignant state­ ment for visitors to take with them at the end of the tour.








I was born in New Zealand in a small town called Whakatane I earned my degree at UNITEC in Auckland. In 2014, I immigrated to Sarajevo, Bosnia and Herzegovina, where I live with my wife and baby son. I find inspiration in everyday objects, com­ mon day occurrences, and the play of light as the sun sets, and a myriad of other mundane events. I look for the devil in the detail and revel in our temporal transient existence to reap the ideas that whirl in my head and heart.

My work explores the juxtaposition of the traditional with the unconventional in a digital context. The style searches for the inherent beauty in our surrounds and plays on the tension between the temporal and the eternal. It examines the themes of society, environ­ ment, self, evolution and mortality.




What do you think is Art by Nature? Look deep into nature, and then you will understand everything better. I feel that my work looks to utilize nature, namely birds, to make sense of the world and by association, our place in it. The literal and metaphorical meaning placed into my works make us examine our environment and to critically assess the ramifications our beliefs, actions and decisions impact on it. I believe this to be a quintessential doctrine related to your magazine and therefore the artists displayed within. T



T How did you become the artist that you are now? F Determination, persistence and optimism.

What inspires you? Pessoa, Murikami, Kafka, Hemmingway, Saramago, Andrić. "A story should have a beginning, a middle and an end, but not necessarily in that order" T F



Please talk about your creative process. Current neuroscience research confirms what creatives intuitively know about being innovative: that it usually happens in the shower. After focusing intently on a project or problem, the brain needs to fully disen­ gage and relax in order for a “Eureka!” mo­ ment to arise. It’s often the mundane activ­ ities like taking a shower, driving, or taking a walk that lure great ideas to the surface. T F

“The relaxation phase is crucial. That’s why so many insights happen during warm showers. … One of the surprising lessons of this research is that trying to force an insight can actu­ ally prevent the insight.” v




GALLERY SPECIAL (RE)INVENTING NATURE Since I found out that Utrecht has great creative initiatives to offer, I looked for a new asset to talk about in Gallery Special. On the Lange Nieuwe Gracht in Utrecht, tucked away behind a gate, an 18th century building is hidden, which is where Fotodok is located. I talked to the producer and she gave me some information about the artists that were going to be featured at the exposition called (Re) inventing Nature and I decided to focus on two remarkable creatives. T

FOTODOK is a platform for urgent and topical socially engaged stories, from local to global and everything in between. These stories are told through an accessible medium, namely documentary photography. Good documentary photography holds up a mirror to society, tells (background) stories, addresses (global) problems and focuses attention on controversial topics. Â




DIANA SCHERER In my work I examine the relationship between man and his natural environment and his desire to control nature. The ambiguous tendency of


man to cherish nature, but also


to control it recklessly. Since a few years my fascination is all about underground plant parts. In 2012, along with the publisher William of Zoetendaal I made the book Nurture Studies. Here I have an array of 32 different plants grown in 32 different vases. At the end of the growth I’ve broken the vases and the plants stayed in vorm of their imaginary vase. During this time I discovered the different structures, thickness and appearances of the root system. Following I started the project “Interwoven’ and weave a root system underground. I started with Art Academy at the age of 25 and finished Art Academy when I was 29. I was an older student because I had a little child. Before the birth of my son Jasper I traveled a lot and worked in fashion. I think with my root-work I still try desper­ ately to anchor somewhere.

Nurture Studies 2012


GALLERY SPECIAL (RE)INVENTING NATURE Since I started to find that Utrecht has great creavive initiatives to offer, a looked for a new asset for this edition of the Gallery Special. I found a wonderfull place on the Lange Nieuwe Gracht in Utrecht. Tucked a way behind a portal that takes you into the 18e century is Fotodok located. There Exposition called (re)inventing Nature would be perfect.And so I talked to the producer and she invited me and gave me some information abot the artist that were coming on third of March. FOTODOK can rapidly internationally program "under the radar" and is therefore very flexible. They always appear at various locations in Utrecht and beyond. FOTODOK is led by people who believe in the social (changing) power of documentary photography, in collaboration and accessibility. They aspire to a dynamicly exhibition where social stories are told in question, where public and professionals can meet with space for critical discussion and inspiring meetings. FOTODOK attaches great importance to the power of collaboration. On the one hand this has arisen out of necessity to allow the programming, but more important is the value by combining the expertise, knowledge and resources, both content and organization. Demeter’s Playground 2016



Detail Interwoven 2016 Interwoven 2016


Interwoven 2016

Rootsystem I



Creative process how roots do not passively grow Interwoven in my work, I explore down, but move and observe. the relationship man has with his natural environment and his desire A root navigates, knows what’s to control nature. For the past few up and down, observes grav­ years, my fascination has mainly ity and localizes moisture and been focused on the dynamics of chemicals. Darwin discovered underground plant parts. I’ve been that plants are a lot more intel­ captivated by the root system, ligent than everybody thought. with its hidden, underground pro­ For contemporary botanists, this cesses; it is considered to be the buried matter is still a wondrous brain of the plant by plant neuro­ land. There is a global investi­ biologists. Charles Darwin was the gation to discover this hidden first to watch the behavior of plant world. I also want to explore it roots. In his book The Power of and apply the ‘intelligence’ of Since I started to he find that Utrecht has great Movements of Plants, describes plants in my work. Harvest - Ex­ creavive initiatives to offer, a looked for a ercises in new root system domes­ asset for this edition of the Gallery Special. I tication is a continuation of my found a wonderfull place on the Lange Nieuwe earlier work on plant roots. I ap­ "Gracht DARWIN DISCOVERED in Utrecht. Tucked a way behind portal proach athe root system as if it that takes you into the 18e century is Fotodok THAT PLANTS ARE A LOT were yarn. located. There Exposition called (re)inventing MORE INTELLIGENT Nature would be perfect.And so IFor talked to the example, the refined, white THANand EVERYBODY producer she invited me and root gavestructure me someof grass reminds information abot the artist that were me coming of silk on and the powerful, THOUGHT." yellowish strands of the daisy third of March. I compare to wool. Using sub­ templates as moulds, FOTODOK can rapidly internationally terranean program "under the They root always systems of plants are the radar" and is therefore very flexible. channeled, forming a textile-like appear at various locations in Utrecht and beyond. material. FOTODOK is led by people who believe in theDuring social the growth pro­ the roots conform to the (changing) power of documentarycess photography, patterns in collaboration and accessibility. They aspireand to the a root material weavesare or braids dynamicly exhibition where social stories told itself. For my research, I am collaborating with in question, where public and professionals can biologists and ecologists of the meet with space for critical discussion and inspiring University and Univer­ meetings. FOTODOK attaches greatRadboud importance to sity of Wageningen.’ v the power of collaboration. On the one hand this has arisen out of necessity to allow the programming, but more important is the value by combining the expertise, knowledge and resources, both content and R ug 2017: Gerard van der Weerden organization. checking spots to improve for proces







American photographer Drew Nikonowicz is a 21st century explorer. His predecessors from the 19th-century used horse and carriage to record the great American hinterland. In the 21th, Nikonowicz’s explore the multitude of digital words with computer and camera.

An infinite variation of digi­ tal worlds is available to us now. With Google Streetview allows us to travel the wor­ ld using our your computer. Thanks to space probes and satellites we can almost real time watch what’s happening on Mars. Video games explo­ re by foot, horseback or pla­ ne. For young Nickonowicz, born after the Invention of Internet, the availability all of these worlds is very na­ tural. They were always of this wold and part his world and he moves without effort through them. In this new wil­ derness Nickonowicz looks for changing relationship we have with concepts such as nature and landscape. What is the influence of these virtu­ al worlds on our experience of the physical world?

Normal kid I was a pretty normal kid. I played hockey and wanted to be an astronaut or explorer like all of my friends. I didn’t pick up my own camera until I was 15 or so. There ne­ ver was a true ‘aha’ moment for me as a photographer. When I started, I immediately


GALLERY SPECIAL (RE)INVENTING NATURE Since I started to find that Utrecht has great creavive initiatives to offer, a looked for a new asset for this edition of the Gallery Special. I found a wonderfull place on the Lange Nieuwe Gracht in Utrecht. Tucked a way behind a portal that takes you into the 18e century is Fotodok located. There Exposition called (re)inventing Nature would be perfect.And so I talked to the producer and she invited me and gave me some information abot the artist that were coming on third of March.


FOTODOK can rapidly internationally program "under the radar" and is therefore very flexible. They always appear at various locations in Utrecht and beyond. FOTODOK is led by people who believe in the social (changing) power of documentary photography, "This world and others like it" in collaboration and accessibility. They aspire to a dynamicly exhibition where social stories are told that I enjoyed it professionals Steady flow can in understood question, where public and andwith I didn’t turn back Muchand of my daily inspiration meet spacereally for critical discussion inspiring after that. I was (andattaches still am)great comes simply to from produ­ meetings. FOTODOK importance to making photo­ a steady flow of photo­ thededicated power of collaboration. On the cing one hand this has graphs, using them to the graphs, and always reading arisen out and of necessity to allow programming, Ideally so­ by something butcreate moresomething. important is the value combiningnew. the Everyone mething I can share so­ isboth constantly being inspired expertise, knowledge andand resources, content and meone else can navigate and and influenced by what they organization. explore with the same excite­ see. So in that sense, every ment I have when I make it. artist I look at inspires me. ART BY NATURE



"This world and others like it"


a new nothing project presents a series of two-person, image-based conversations. New conversations are added regularly. The website is basically a series of photographic 'conversations' between two artists, there is no topic. Chase Barnes and I are old friend, we have a conversation by posting round and round an image as a response to eachother, the conversation is still going. Follow the conversation at this link




This is a bit of a cop out that don’t exist. Joan Fontcu­ I keep a to-do list on me though. So my favorite-pho­ berta works similarly, and his at all times. It’s something tographer-list varies on the work that excites me the most I use to write down ideas time of day, but the artists I has a very didactic and scien­ whenever they come to me, always include are as follows: tific veneer, and when you because otherwise I forget Taryn Simon, Andreas Gurs­ peel it away a very complex quite quickly. If I’m wor­ ky, and Joan Fontcuberta. The fabrication is revealed. king how I want to, I try to thing that most artists that maintain at least two pho­ toerror find that Utrecht has great each day. More excite me share is thisSince abilityI started tographs Trial and creavive initiatives to offer, a looked for a new to transform or alter reality The primary mode of crea­ or less depending on what asset for this edition of the Gallery Special. I in some way. Taryn Simon’s tion I follow is constant trial I’m working on and how I’m found a wonderfull place on the Lange Nieuwe work often reevaluates the and error. As I said before, working on it. But for now, Gracht Utrecht. a way behindno a portal world and reveals things that in when I’mTucked working on pro­ two days really ever look thatsee takesjects you Iinto the 18e century is Fotodok most people will never commit myself to a the same for me. v called (re)inventing with their own eyes. located. In a lot There steady Exposition flow of production. be perfect.And so I at talked to the of his work, Andreas Nature Gursky would Each week or so I look back producer me and gave me some is fabricating new realities by and whatshe I’ve invited made, so that it can information abot the that were compositing and altering his improve andartist inform what I coming on photographs to createthird places make next. of March. FOTODOK can rapidly internationally program "under the radar" and is therefore very flexible. They always appear at various locations in Utrecht and beyond. FOTODOK is led by people who believe in the social (changing) power of documentary photography, in collaboration and accessibility. They aspire to a dynamicly exhibition where social stories are told in question, where public and professionals can meet with space for critical discussion and inspiring meetings. FOTODOK attaches great importance to the power of collaboration. On the one hand this has arisen out of necessity to allow the programming, but more important is the value by combining the expertise, knowledge and resources, both content and organization.






ROB WETZER In vitro meat, cloned animals and caregiver robots materialize while our raw materials become depleted and global warming occurs at a fast pace. How can we make sure that the earth will continue to be, also for our children and grandchildren, a beautiful and livable place? FOTODOKs new exhi­bition (Re)Inventing Nature challenges us to embrace technology. The impact of man on Earth has gone beyond the impact of natural forces. It was suggested in 2016 to name the times we now live in the Antropocene, which means as much as ‘era shaped by human impact’. The concept of nature and technology as

systems that exist as such is outdated. From the moment we started to use fire to cook our food, our technologies have influenced both our own and the earth’s development. With work from, amongst others: Diana Scherer (NL),

"THE IMPACT OF MAN ON EARTH HAS GONE BEYOND THE IMPACT OF NATURAL FORCES." 43 Mark Tribe (USA), Reiner Riedler (AU), Yves Gellie (FR), Sjoerd Knibbeler (NL) & Drew Nikonowicz (USA).

presents optimistic views of a new relation with nature, ranging from underground to virtual.

What does art by nature mean to you? W That depends. I don’t see nature as a maker of art, on the contrary: art is a cultural expression of man, the nat­ ural world is the exact oppo­ site. It often falls to scientists, artists and philosophers to provide us with fresh per­ spectives, as we can see in our renewed interaction with nature and technology. The ex­ hibition (Re)Inventing Nature

How do you start with an exhibition? R At a time when news bul­ letins are getting shorter and become outdated faster, in which we are inundated daily with thousands of images and a continuous flow of information, FOTODOK be­ lieves there is a need for back­ ground stories. These back­ ground stories offer depth, sometimes-even reflection and contribute to a better under­



standing of the world in which we live. The themes of our exhibi­ tions try to relate to current and larger social issues like role of religion in a time of mass migration, or the evershifting concept of privacy under the influence of big data collecting. After determining the sub­ ject, we usually take about 6 months to curate an exhi­ bition. v








The ability of some creatures to imitate others, either by sound or appearance, or to merge with their environment for protective purposes. We converse with AI. We clone sheep. We can replace our bones, our ears, eyes and organs


Meat isn’t just raised. It’s 3D printed. Life isn’t just lived. It’s rebuilt and rendered. Feelings aren’t only experienced, but can be prescribed and ingested. Daily life has been replicated into a copy of what nature began. And though it’s caused problems. It propells our species forward. Replication is in our DNA. And our ability to mimic the reality around us, will ultimately ensure our survival. Read the article on the next page ART BY NATURE

Photo on page 47 : Richard Kranzlr


lass fins being secured to metal G with silicon.


When we are all very small we have innate talents. Some of us are good at sports, some are good at math, etc. I think when these talents are recog­ nized by our parents and teachers and we’re praised for them it reinforces the behavior and in many ways can shape who we become.

think that was when I began to notice I had a passion for making things that may­ be not every one else did. Throughout my life I’ve been inspired by science fiction, inclluding movies like Robocop, books like 1984 and Childhoods End, and the scenic landscapes of my hometown Sea Cliff.

Childhood I was obsessed with draw­ ing and art since before I can remember. Drawing, building and Legos being my favorite pastimes. But I can clearly recall a specific instance in my kindergar­ ten classroom when my “sculpture” of a monster made from a box and some styrofoam won for the best in the class. And while at the time I didn’t know, I

Exposition at The Prow The Prow as an art space was conceived solely by Cheryl McGinnis, a New York City based art curator and gallery owner about 7 years ago. She saw its potential and had contact­ ed Sprint (who rents the space) and negotiated to use it as a place for art.


I was working across the street at an ad agency and

from my desk I could see the Prow. Every day I would watch enviously as talented artists showcased their work in this phenom­ enal space until eventu­ ally my curiosity peaked and I tracked Cheryl down (this took some effort.) I got to know her, and over the course the next sev­ eral years put together a presentation deck for her. It had 3D renderings of the space with my art in it, all manner of exposition on the idea and materials, and even one of the actual wood Mimicri fish for her to keep in a custom printed box with the Mimicri logo on it. Unbeknownst to either of us, she got it Christmas day. Nobody in her fami­


Installation photographed from inside of Prow.

pray painted micro-circuitry on glass S created by 3D printing a custom stencil.

"OUR CONTINUED PURSUIT OF RECREATING REALITY IN OUR OWN VISION." ly knew who it was from or who it was for so they opened it last and accord­ ing to her she was ‘blown away.’ I got a call the next day that I was scheduled to install within a few months. Some hiccups occurred along the way. The space was taken away a week be­ fore I was supposed to show, and then given back unex­ pectedly months later, and ultimately art is now limited to the front third instead of the entire space. But what’s important is that the space is still there, and it’s still one of the most amazing places in Manhattan for artists to get their work exposed.

There was a lot of out­ reach because of the show. People had really nice things to say about the work, a lot of people learned about me, wante to purchase pieces and the work got passed around on major blogs. So it was a fantastic experience. MIM-IC-CRY (n) Biomimicry is the study of any organisms behavior and making tools that copy it for our benefit. The piece Mimicri is attemp­ ting to make a noun out of this idea, to give a name to our continued pursuit

of recreating reality in our own vision. From using silk­­worms to make clothes to the creation of Artificial Intelligence we manipulate and replicate nature to bet­ ter our own lives. Fishes Each fish in the school sym­ bolizes this idea. A natural material as their base (wood) gives way to a man made one (glass) imprinted with a pattern of micro-circuitry to further both the idea and aesthetics of the pieces. v





COLUMN Art was everything, evolving and improving, until before I knew it I was pursuing a BFA in illustration. My work revolves around educa足 tion and protection of wildlife. Before graduation, my mother passed away violently, and I slipped into darkness. After graduating, and several years of struggling I drove across the country in a wild quest for healing and freedom. I found both, but not without much personal work and seeking. I settled in Los Angeles, though overwhelmed with the pace. As I explored and grew, I fell in love with Angeles National Forest. I applied for a position at Wolf Connection, a wolf sanc足 tuary. I learned how to ride a motorcycle and bought an old Harley chopper. I found my people, canine and human. I fell in love with the high desert. Between the mag足 ical flora and fauna that thrive here - I have not been able to leave. Riding has changed my life, bringing me a connection with the elements. I reach a state of meditation, immersed in the ecosystem from a new perspective. The bike taught me to ask for help, to share insecurities, from which I gain sharable knowledge, bringing me new humility.

My name is Genevieve Gabor Mariani. Illustrator, motorcyclist, animal welfare advocate. I hail from Minnesota. I grew up lonely and wild, relating to animals more than humans. At an early age, I also inclined to painting, drawing, and exploring in the woods. Here's my column!

Working with wolves was life changing. They also taught me humility, how to put forth best effort, non-competitiveness , have patience and faith. I work for Harley-Davidson and Wolf Con足 nection, also taking illustration jobs. Helping humans and wolves find serenity has inspires me endlessly. I am fulfilled, being of service. I hope to inspire and teach others, as they inspire and teach me. v







David Lynch once said it takes 4 hours of undisturbed time to get one hour of productive content. I think about that a lot while juggling a full time job and other creative pursuits and also living in one of the busiest cities. When does anyone have 4 hours of undisturbed time? You know? Morning routines followed by working routines followed by after work rou­ tines of making dinner and finishing a day. At what point do we isolate ourselves to an undisturbed state? Routine is the killer of creativity. Con­ stant noise and buzzing of the world around us is just an­ other layer to break through.

I went to Iceland in search of wide open spaces. My first ever solo trip in an effort to force myself into solitude. In my mind it seemed like such a huge undertaking. But it wasn’t. I booked a cheap flight, rented a car, bought a delicious latte at a gas station and drove the south coast of the island on a cold but beautifully sunny Monday in February. And then the most amazing thing hap­

pened. I found myself stand­ ing at the foot of a water­fall. Birds flying high at the edge of a mossy green cliff before a cascading of ice cold gla­ zier water came crashing down into an enormous deep pool splashing my old and worn black boots. I made it. By myself. Hell even the car ride inspired me. You know what I mean?! The air felt different. The earth felt different. And I felt differ­ ent most of all. There is some­ thing about being in a new place that makes you see the whole of it. Taking in all the curves and crevice≠s as the landscape moves and chang­

es from one new place to the next. And the people. Where did they come from? Have they always been here or what brought them? They move and change too from one place to the next. It had gotten dark and I found myself checking in at a guest house 30 minutes past diamond beach. An old cylinder building off a long and deserted dirt road. A tractor and farm house in the background 5 basic rooms off of one common area holding a white table and two chairs. Travelers came in form the cold carrying their bags and different accents.

" EVEN THE CAR RIDE INSPIRED ME." It was already the perfect setting for a play. Everyone went their rooms, except one man. He came out of his room with a bottle of whisky and sat down at the white table. My door was slightly open, an old gold key was still in the lock. A reminder of an older place in time.

creep in like a paper cut to the chair next to him. Snow had started falling on the mountains outside my window and I could hear water somewhere nearby maybe from a stream. I stood there in my wool socks wide awake. This is the place where stories are made. v

I wondered if he could sense me standing there, my eye peeking through letting light




A RT BY N ATU R E 5 - D D W 1 6



Anita Yan Wong

Is an Artist and Art Professor specializes in Modern and traditional Chinese art, a long time pupil of – a World-renowned Lingnan style master and first pupils of Chao Shao An. Anita's Arts are inspired by the beauty of Nature. Her painting style is traditional “xie yi”, in which her brush strokes are expressive yet delicate and precise. Her paintings are a display of her Identity – an International artist that lived in Beijing, Hong Kong, London and the United States.


ow did you become the artist that you are now? A Anita was born in Beijing, raised in Hong Kong, London and America. As the only child of a Chinese language, history and Biolo­ gy teacher–Wah, she was educated to be a Chinese painter and an animal and nature lov­ er at a very young age. During her childhood, Anita has spent many hours caring and ob­ serving birds, she has been captivated by their beauty where animals and nature became the subject to her art ever since. With the encour­ agement of Wah, Anita started practicing rice paper painting from a World renowned Ling­ nan style Master at the age of 6. Hoping to be­ come an educator in Arts like her Mom, she continued her study in art and design.


What inspires you? My current research interests are Chao shao an, Louise Bourgeois, Claude Monet. I don’t have a particular artist or a particular art period that I follow because I want to be in­ fluenced by many great artists. I try to follow both Western and Eastern art, both traditional and modern. T






I try to get my inspirations on­ line and offline. By reading online art magazines, blogs and websites. Online materi­ als are very inspiring to me, as the World Wide Web has brought us closer, brought cultures closer and brought different style of art closer. I also find it very important as an artist to network, going to local galleries, shows and museums. Movement Two art movements blos­ somed in the 19th century they are separated by oceans away, one in China, the other in France They are known by us as Lingnan style Guo hua and the Impressionist.


The new Lingnan Guo Hua style I am developing is in­ spired by Impressionism, a 19th century french art move­ ment characterized by expres­ sive defined brush strokes; effects of light; move­ m ent and passage of time, the move­­ment that brought pain-­­

ters outdoor to experience nature, daily and social lives from the limitation of the in­ door studios sets. I am very interested in how Impres­ sionist shares a similar brush works as Guo hua – fast and expressive in their brush strokes that captures the


Could you tell something about your project “Preserved”? A “A broken butterfly wing, a bunch of fallen leaves on the path way, a cicadas shell on a tree, some strangely grown twigs and pressed flower bookmarks – gifts from my childhood friend: I find all these preserved objects extremely beautiful and precious. I have pre­ served these objects under glass with backgrounds of beautiful nature paintings on rice paper. They are given a second life and are frozen in time with new meanings from the paintings, they tell stories of their existence and lives. T

impressionist right now, I don't want to be fixated into a certain style, this project is a working process and the style will change with research, de­ velopment and time... What is your process like? I always start my project by reading, research is a big part of my art making. In “Preserved”, I have pre­ served strange finds from nature under glass with back­ grounds of rice paper painting – both fragile but beautiful. T


moments. Unlike realist paint­ ers, impressionist painters and Guo hua painters are using the medium as an expression of their feelings and view points towards the subject matters rather than an imitation of the realities". Although influenced by the

They are given a second life and are frozen in time with new meanings under the glass, they tell stories of their existence and lives.

Rice paper painting, along with Calligraphy, an old art form that was once a com­ mon practice among all Chi­ nese is now seen by some as old traditions and dying art form. As an artist, I want to preserve it, cherish it and bring it to live with new ideas and creative thinkings. The title “preserved” contains the meaning of preserving the objects and strange finds under the glass as well as the traditional art form rice paper paintings – “Guo hua”. v



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

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al h oss W e wit < M natur o t ack Get b r Moss ee Reind with king c a b ng od plywo ber frami • m u l 1×4 oss eer m tol d n i e is • R lue p ormation g t o inf • H more For k chec nn a boz


ile Mob air e r he atu in t < N p u re Natu ay y cl e p l s u • Sc re bit n pi tu a g N • in l l o r • a ring twig t s k • hec long n c o i • a t rma info .com e r mo ions For agicon them


< Leaf pillow ca ses Leafy bu siness. • Fill pil lows wit h a shee newspape t of r paper s o that t does not he color l e a ch. • Apply bl ack text ile colo back of r to the the page • Put th e leaves on t . P ress w ith clea he pillow n newspa smooth t per and he leaf . Carefu lly remo ve the l eaf ... Done! For more informatio n check lebutikso fie.blogs




DREAS EVERS After a classic traditional upbringing, I followed the advice of my father to step into the commercial world. According to my dad, art wasn’t a way to earn a stable income.

es and a solid vocational train­ ing graphic design, I was ad­ mitted at the Royal Academy of Arts in The Hague. At this point I follow the third year. Could you tell something about your root project? D At the academy we have classes called Playlab. During this course you are allowed to work freely and associatively, and you all get the same T

Around my thirties I increasingly wondered what I found important in life. I soon found out that commerce did not contribute to my happiness. I slowly returned to things that provided me happiness in the past. Creativity played an important role. After several cours­



starting point. In this case, the key word was greengro­ cer, and you can think of the whole process: Sowing, care, harvest, shipment, prepare, eat. All words can be seen as a metaphor.


Each plant has roots to absorb water and nutrients from the ground. Some are the final product. There are plants with aerial roots, but most of the roots remain hidden under the ground. When sho­ wing the roots, you make the invisible visible. Roots often have lovely refined structures. (See the colored print.)


The link to the Roots of man is easily made. The use of the word pedigree is no coinci­ dence. (The work with the 1200 transparencies sym­ bolizes my family tree: light when the connections are far away, dark when it concerns my direct ancestors.) Your roots define who you are. Everybody is a unique com­ bination of the DNA of his ancestors. v






Transgenic stingray leather used to create uniquely personalized product. Thai company Rayfish Footwear Inc. has pioneered the process of “bio- customization”, a groundbreaking concept in personalized consumer products. Using coloration and patterning genes from existing animal species, engineers at Rayfish Footwear produce stingray leather with a near-infinite variety of naturally grown designs. Customers visiting the company’s website can design a pattern to be grown on a transgenic stingray, which will subsequently be transformed into a one-of-a-kind stingray leather sneaker at the company’s Chon Buri facility. by Next Nature Network










Scenes by Nature Genevieve Mariani

Through the eyes of Jelte Keur Photo doc Column Genevieve Mariani

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Behind the scenes

Nature's Wannahaves

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