Peripheral ARTeries meets
Esther de Vlam Lives and works in Rotterdam, the Netherlands Esther de Vlam is interested in how we begin to make something from the bare minimum. How do we depart from zero? She investigates how the threshold of normality is crossed and a new position is maintained; how a crisis (a war or poverty, for instance) becomes normality, even taken for granted. Her work takes the form of installations where everyday objects undergo a transformation.
An interview by Josh Ryder, curator and Melissa C. Hilborn, curator
multifaceted background. You have a solid formal training and after having earned your BAs from the Rotterdamse Dansacademie and from the Academie for Fine Arts and Design you nurtured your education with a MA from the Piet Zwart Institute, in Rotterdam: how do these experiences influence the way you currently conceive and produce your works? And in particular, how does your cultural substratum inform the way you relate yourself to art making?
Rotterdam based artist Esther de Vlam is interested in how we begin to make something from the bare minimum: her works rejects any conventional classification and addresses the viewers to an unconventional immersive experience, successfully attempting to trigger their perceptual parameters, with a deeper focus on a complementary dialogue between materiality, content and the exhibition space. The power of de Vlam’s noetic approach lies in her insightful inquiry into how the threshold of normality is crossed and a new position is maintained; how a crisis becomes normality: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production.
At the age of ten I was selected for the Royal Dance academy, Den Hague. So, from that moment on I left my parents place, because it was too much to travel daily between my new school and my place of birth. There were a lot of changes in my life from a young age on: I had to be (a) professional, I became disciplined, a fighter and understood I had to do things myself. I was fighting, like all the other young dancers, to get control over my body, to “dance the music” and make it look easy.
Hello Esther and welcome to Peripheral ARTeries. We would start this interview with a couple of questions about your
After graduation, when I had been a dance student for twelve year, I felt that I didn’t