STOP. LOOK. THINK. 18-28 MARCH 2018
Maastricht Street ART
TABLE OF CONTENTS
MAASTRICHT STREET ART
MARCH 2018
Introduction Anke Huyben
7 8-9
Djillie Roes
10-11
Helène Klein
12-13
Deniece Clermonts
14-15
Andrea Beckers
16-17 18-19 20-21
Janneke Swaen Nico Yerna Jerome Hendricks Natascha Waeyen Julia Krewinkel Mami Izumi
Thank you
22-23 24-25 26-27 28-29 31
INTRODUCTION
MAASTRICHT STREET ART
MARCH 2018
It’s not what you look at that matters, it’s what you see. - Henry David Thoreau. Maastricht street art project invites inhabitants, students, or visitors of Maastricht to discover some of our city’s talents through a public exhibition. It also provides a good opportunity for young and emerging artists to show their works outside their studio, usual art galleries or institutions. This exhibition is for you to enjoy. Slow down for a moment in your day and allow yourself to enjoy what you see, think, imagine, perhaps be inspired and make new discoveries.
THE ARTIST AND THE OTHERS.
07
ANKE HUYBEN
JEWELLERY DESIGNER
MULTIPLE PINK
Multiple pink is a body of works about quivering bodies, shown in sculptures made out of a fabric in a caricatural colour of pink. They provoke the question of their own portability. A piece of jewelry is a decoration of the body. I study the body as a carrier of jewelry and take my personal obsessions about my body as starting point. I play with the idea of wearability. I test how far we can stretch the definition of jewelry. Postures are integral to jewelry: a necklace can change your posture by making you feel more beautiful; a ring can make You feel powerful. In my work I turned these relations upside down. The piece has a power over you, not the other way around. In Order to wear them, you have to force yourself back into awkward positions so you become more aware of yourself, you become the subject. We take certain postures when we feel uncomfortable and use them to cover our bodies but by assuming these positions we draw attention to these parts. A lot of my works come from the realization that these postures themselves create shapes or make shapes visible and can be considered adornment of the body. With every position our body changes and new lines are made.
WWW.ANKEHUYBEN.COM
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DJILLIE ROES
DESIGNER
MASS UNIQUENESS
Can humans be authentic in this growing society? What is authenticity? Can anything we create be unique? What does it mean to be unique? What do objects tell about the human who possesses them? ‘Mass Uniqueness’ represents these questions in an absurd way. By using the same systematic process every time, a typical mass product, like the pen, also a symbol of authenticity, is transformed into a ‘unique object’. But is it still unique when placed together with hundred of them? The ambiguity of these objects and the concept itself is shown in a slightly humorous, surreal video. The video shows a researcher putting a lot of effort and time into making and searching for ‘the unique pen’. As a designer I ask myself a lot of questions, but mostly: what makes me and as well my work different from others? Socially engaged questions fascinate me. Subjects like mass production, manipulation, our growing society and social media intrigue me. For me design/art is something that should contribute to society; People should think about design/art and maybe after seeing/experiencing it, leave with a different view.
WWW.DJILLIEROES.COM
11
PHOTOGRAPH BY STUDIO SAY CHEESE
HELÈNE KLEIN ARTIST
ARMOR
Armor, Is a series of objects that tell about how I felt lost and exposed after suddenly losing someone very dear to me. I felt naked and left alone. Armor represents the most intimate parts of me in the form of plastic molds. They served as a protective barrier between me and these feelings of abandonment, so I won’t feel exposed again. They also represent something that has been, a relationship grown cold and hard, like the plastic, but somehow still beautiful and forever present. Not heavy like real armor, but modern and light for the small modern battles that we all have to fight, sometimes. I am in love with colour, textiles, prints, materials and light. These things always surround my artistic work. When I start a new project I often get inspired by something small. A small piece of cloth or a colour that at that moment touches something inside of me. Ideas always progress in my head, they never stop growing. Sometimes I have an idea in the beginning of my project and it turns out to be something completely different in the end. This is what I love and how I am as a person. It’s an organic growth, a never ending story. When I have reached an end product it’s still moving, progressing into another idea and a different shape but still taking some of the old story with it, maybe it’s in the material or the colour but it is there.
WWW.HLNEKLEIN.COM
13
DENIECE CLERMONTS FASHION DESIGNER
“SELECTED BY THE PUBLIC” CREATIVE EXPLOSION
Creative Explosion is a self-portrait. It contains a detail of a painting which I have made in another state of mind where space and time become lucid. It represents the colorful playful side of me. The drawing is a so-called “scribble”, which appears when pen and paper meet and my subconscious mind leads the way. It represents the more focused and troubled side of me. I graduated in 2011 from the fashion department of Maastricht Academy Fine Arts and Design. Expressing myself in a creative way is a necessity. It always helped me to put perspective on things or to clear my head by being both expressive and concentrated. Sometimes it is also a form of escapism and most definitely one of the important things in my life. My so-called “scribbles” are compilations of thoughts and mind-flows that evolve at the moment I’m drawing. Little symbols and words are often subconsciously added.
WWW.DENIECESAMI.COM
15
ANDREA BECKERS
ARTIST & PHOTOGRAPHER
BESEF VAN IK, I
Besef van Ik, I, is about the struggle in daily life, trusting your instincts, decisions, the exploration of the humans and the way they think. I focus on how to separate your thoughts and about learning from the physical feelings and following your inner light. A lot of people are being pulled and pushed in different directions and that’s stirring up a collection of memories, emotions, thoughts and feelings inside their heart and body. They are conscious of their appearance, constantly asking themselves “how do others perceive me?” The thoughts that can follow on these questions can be hypnotizing, people will start to believe fully and act to them, so that their own personalities will start to fade. People will slowly become stuck in this personality. When I create a new artwork, I create a change within myself. experimenting, photographing and painting has always been an avenue to reveal my deepest emotions, allowing me to understand myself better. For me its important to create this change for the viewer as well while looking at my work. Painting and photographing is a time of reflection, I have found emotional expression to be directly tied to my ability to create abstract pieces and portraits, so I decided to mix the two of them. I created a new technique myself, by using all kinds of mixed media’s and combining abstract pieces and portraits. “
WWW.ANDREABECKERSFINEARTANDDESIGN.COM
17
JANNEKE SWAEN ARTIST & ART THERAPIST
UNTITLED
This painting is one of a series of colorful, expressive, playful paintings. The series is an ode to play. I find that being able to play is one of the most valuable qualities one can have. Something that often dispersals when growing up. It’s something I lose myself from time to time, and that I see being lost by others. Play is as important as it is vulnerable. It’s where we learn and where we connect with ourselves. Learning to play with materials can teach you how to play in everyday life. This work is a direct result of my own process of not taking myself too seriously and to allow myself to make mistakes, to experiment and to connect with my own Playfulness. I create in an art-therapeutic manner, always curious to learn and develop by doing. The emphasis is always on the process behind my works: the way I make it, what happens while making it and what it says about me. For me, it’s a natural and intuitive way of getting into contact with myself.
WWW.JANNEKESWAEN.COM
19
NICO YERNA ARTIST
BROWN SOLDIER
The artwork is a digitally edited photograph. Photography makes it possible for me to connect the two-dimensional pictorial space with the “real” three-dimensional space, whereby the digital editing adds a graphic layer. A photograph itself is for me just a documentation of reality. By adding these graphic layers the photo gets ripped out of its documentary value and is transformed back to the two-dimensional pictorial space. Within my art the dissection of psychological processes plays an important role. I question the processes that go on in one’s mind, how an idea comes about, how images do form, how the person of the artist relates to his own work, and how language can be used in a literal or iconic way. I research those processes from my own symbolist point of view and with a lot of humor. My works derive from a series, in which one work follows the other in a process, of which I don’t know in advance where it will end. I use different techniques, such as painting, collages and drawing, but resort just as easily to digital photo editing, until I reach the end of my quest. So that I can subsequently research these processes in a new series and in a different way once more.
WWW.NICOYERNA.COM
21
JEROME HENDRICKS
CONCEPT ARTIST & ILLUSTRATOR
RV_CAMPER
In 1988, the Dutch government ordered the creation of the world’s largest excavation machine, to be built near the south side of a town called (redacted). Standing at 1008 meters tall, official press releases stated it was being used for termining of natural resources. Starting August 1989, local authorities saw exponential Increases in reported encounters with strange creatures, more than 224 claims within two years. Also, the town seemed to have a few new guests; men in black suits driving SUV’s. Rumored was that the machine was not being used for mining resources at all; Its core purpose is believed to have been of a supernatural nature. Officially retired in March 1994, the machine still stands tall at the south edge of (redacted). Nowadays the site attracts mystery seekers an conspiracy theorists alike, often studying the object from a far, since the site is still off limits and heavily guarded. My career started in 2013, teaching Photoshop classes and digital Illustration. I was never seen without a pen and a sketchbook, but truly ties things together using a broad range of digital techniques. In my short career as a photographer tough myself the basics of lighting, color and composition. Trying to figure out how light will affect a certain scene/painting/illustration is something I really enjoy doing.
23
NATASCHA WAEYEN VISUAL ARTIST
UNTITLED
This photo is an untitled autonomous art piece, which is also a detail of “House”. This image shows the character of “House”: Transparent, poetic and enigmatic. “House” is a cube of 2,5m3. It is situated at the backyard of Lukas and Marjon, next to Wanda Reiff at the Plateau van Margraten. I drew my house with 70m3 aviary wire, two pairs of players and my hands. At first I cut everything at the right measure and I sealed the walls with detailed decoration. During “the making of” at Symposium Oogsten, I gave my house a ceiling, a door and (partly) decorated windows and walls. “House” is a statement that tells something about my position in our society and in the group of women who took part at Oogsten. It is in the context of my phase of life, in the same time I keep my authenticity. I am a drawer, 3-dimensional admittedly. My work, often aviary wire or iron wire netting, has an open character, it is metaphoric and literal versatile and reflecting like a mirror image. There is mostly no bottom, top, back and front. No inside or outside. I research boundless, limitless and measureless. My works of art speak for themselves, more than words, but circumstances, a story or history is regularly the occasion of my work.
WWW.NATASCHAWAEYEN.NL
25
JULIA KREWINKEL
GRAPHIC DESIGNER & ILLUSTRATOR
ENFANTS DE LA PATRIE
Enfants de la Patrie (Children of the Fatherland) focuses on a part of Maastricht’s history around 1800. During this time Maastricht was conquered by the French army, and a foundling house was opened. When a mother had to give up her child, she often gave a personal token with the baby: a little note, half of a playing card or a small piece of fabric. The thought was that in better times she might identity and reclaim her child with the other half of the card or matching piece of fabric. The Regional Historical Centre of Limburg in Maastricht has many examples of these items and they have inspired me to tell their story. Using paper, fabric and light I have presented the atmosphere of these events. As a designer I am always interested in and inspired by the stories of others. The means and manner I use to tell these stories can vary; I adapt my material to the emotion I want to express.
WWW.ENFANTSDELAPATRIE.NL
27
MAMI IZUMI DANCER
BLIND WALK
The Blind Walk project is a unique experimental performance in a public space where the audience who is blind folded and performers come together to create the performance. The project is an experimental performance with an essential concentration on interaction with audience; every audience member is an active participant who must use their own bodies, that means that they will be active for the entire performance. This does not mean that the participants are required to move skills or dance background in order to be part of the performance; the basic activity of the participant will be as simple as possible in everyday life: walking. Each participant will be accompanied by one of our guides who will support them to take care of safety. It will be a one-on-one experience; every guide/performer is assigned next to a participant for the entire performance. It will be the audience member’s safe-keeper, a temporary partner for the time of the performance. Simultaneously the participant follows the trajectory of the performer’s pathway and movement, thus creating a new relationship between the two through common sense. Trust and caring are key and essential: relying on the guidance provides the full experience of BlindWalk. WWW.MAMIIZUMI.COM
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THANK YOU
MAASTRICHT STREET ART
MARCH 2018
Participating artists: Andrea Beckers, Deniece Clermonts, Jerome Hendricks , Anke Huyben, Helène Klein, Julia Krewinkel, Mami Izumi, Djillie Roes, Janneke Swaen, Natascha Waeyen and Nico Yerna. Thanks to: Maastricht Municipality, Tom Goossen, VVV, Emily Marr, Ilse Cuevas, Cultuurwerkplaats Zeezicht and to all the artists who participated in the open call. To know more about the artworks, you can download a free catalogue on theartistandtheothers.nl or at QR CODE Feel free to share your favorite using #SlowDownArtMaastricht
WWW.THEARTISTANDTHEOTHERS.NL
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STOP. LOOK. THINK. 18-28 MARCH 2018
Maastricht Street ART