Blog – Maria Kokkonen

November 19, 2020

Artist Interview: Cornelia Konrads

rupture (lacmé’s dream) 2019
Art season 2019 – Domaine de Chaumont sur Loire / Centre for Arts and Nature (France)

I’m so excited to continue my artist interviews with this amazing artist: Cornelia Konrads. Born in 1957 in Wuppertal, Germany, Kondrads studied Philosophy and Cultural Science, and has been working as an artist since 1998. Her main artististic focus has been site specific sculpture and objects. Konrads has done many commissioned works for public spaces, sculpture parks and private collections and participated in various sculpture and land art projects in Europe, Asia, Australia, America and Africa.

Can you explain who you are and what do you do?

I’m a sculptor, based in Germany but working in many different countries. My work is basically site specific, i.e. it’s related to a certain place. The main part of the construction takes place on site. The site is not just a background for me, it’s a texture – and it’s my goal and challenge, that the work merges with this texture, becomes a part of it, as if it has always been there.

What themes do you pursue in your work?

I like the image of a journey for the creation of artwork. Life is a journey and art reflects life. Literally my site specific works are always preceded – and followed – by a journey. In a certain way this journey is a part of the work. I refer to it, and I speak about aspects of travelling: passage, movement, transformation, transience.

moment of decision (2004)
Winter Art Biennal Luleå (Sweden)
Installation next to a playground in the forest
snow, steel rope, fishing line
8.0 x 6.0 x 1.0 m

How has your practice evolved over time? What has been the main driver of that?

I started with graphic and painting, then integrated collage and printing. The illusion of space has always fascinated me, so it was just logical, that my works became more and more spatial. Regarding 3-dimensional artwork I’m mostly intrigued by the question how it dialogues with its surrounding. No matter if it’s an urban place or somewhere in the “wild”, if it’s indoors or outdoors – each place has a history (I would eaven say a “memory”) and a certain atmosphere – I like, if an artwork assimilates this pecularities and makes them visible.

What role do you think artists have in society?

To stay at least with one leg outside of the “common sense”, to be deliberately the fool on the hill, to ask crazy questions (not to give answers!) about things, everyone believes to know…

bridge (2018)
Blackfoot Pathways – Sculpture in the Wild, Lincoln MT (USA)

Can you describe a real life situation that inspired you to create?

Early morning in my studio, with a cup of good coffee!

Walking along unknown streets, paths and trails.

Taking a bath.

When you create site-specific sculptures, from where does your process start?

My first approach to an unknown area is always: walking – without a certain destination. I follow the attraction of marks and constellations of the landscape, shapes, sounds, smells, tracks, light situations. During those walks I collect in my mind what lies on the edge of the path: incidents, materials, characteristics of the local architecture or vegetation – untill I come to a place, where all this observations condense into an image.

I know, that I’ve found „my site“, when immediately three aspects come together: a clear image, I can visualise there, the technical possibilities and a sensefull relation to the informations I picked up on my way before. This is a very “precise” feeling.

What have you learned from your career as an artist that you would like to pass onto other practising artists?

Never stop to surprise yourself!

walkaway (2013)
2nd International Land Art Biennale, Plettenberg Bay (South Africa)
Site: dune area between the ocean and a river mouth; quoting the numerous wooden walkways and stairs along the beach
wood
15.0 x 3.0 x 1.2 m

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

Yes. see previous answers…

What could you not live without as an artist?

Freedom.

Where to follow Cornelia Konrads:

WEBSITE : www.cokonrads.de

LINKEDIN : www.linkedin.com/in/cornelia-konrads

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November 5, 2020November 5, 2020

Artist Interview: Anke Roder

Sunglow 2020
encaustic and oil paint on wood
21 x 18 cm

Anke Roder ( Bayreuth 1964) is a Dutch based painter living in Zandeweer, north coast of the Netherlands. Her studio is surrounded by a big artist garden, composed like a living colour changing painting and combining form and structure of plants. These colours of nature are of great importance for her paintings. The blushing sky has similar shades of pink and red as the blooming roses, translated into colour tones in her landscapes. Coastal walks reflect a greater space, empty planes and fields are changing every season and absorb the luminous skies. We remember clouds, shades and shadows, reflections of light, all together as a philosophical space. She always had a deep interest in natural surroundings and phenomena and works with an awareness of being part of a greater picture.

Aan de Kust ( At the Coast) 2019
encaustic and oilpaint on oakwood
21 x 18 x 4 cm

Can you explain who you are and what you do?

I was born in Germany (Bayreuth), lived in quite some places over there (my father worked as a textile designer and had to set up new departments in several places) grew up in a small town and village in Schwarzwald and live in the Netherlands, my mother’s country, since I was 11 years old. I lived in all parts of the country, started in the south, studied in the middle and now work and live in the very north near the Northsea.

I’m a painter, love to work on paper as well, and write on a freelance regular base about contemporary art and artists.

What themes do you pursue in your work?

Nature, colour, space, light, horizon, tactility, serenity, transparence, gesture of painting act.

Dahlia 2019
encaustic on oakwood
26 x 18 cm

When and why did you use beeswax in your art?

Some years after I graduated artschool I worked on a multi-panelled installation called ‘De kleurenleer volgens de natuur’ (Colour theory according to nature). I researched different materials in abstract monochromes and was interested in how time affected colour, using copper, oxydated copper, textiles, rubber, and different paints and pigments.

In this piece I discovered raw beeswax, with it’s smell of honey and natural ochre colour. Melting it filled my studio with this scent of nature, and there were so many ways to use the paint. My first experiments were all abstract paintings, testing every possible way to use brush techniques, relief, painting slow for smooth surfaces or painting very quick and light to get a moss covered appearance. When I added pigments and discovered that the raw waxcolour affected the brightness of colour, I started using purified beeswax.

What qualities of beeswax as a material appeal to you?

I like the semi-transparent qualities, and the way pigments reflect light in this translucency. For me it’s the best way to experience colour in a very pure way. The liquid melted paint solidifies without loosing it’s fluid qualities.

Full Moon 2019
encaustic and oilpaint on oakwood
37 x 22,5 x 4 cm

What is your creative process like?

In the mornings I read, write, answer emails and go for a coastwalk to empty my head. I take a look on the work I had done the day before.

Almost every day of the week after lunchtime I paint, starting to melt the beeswax, which takes about an hour, using that time to do some preparing panels or making works on paper. My best painting time is later in the afternoons until dinnertime, sometimes continue painting in the evenings. After I finished work I usually scroll through social media to react and select some new works for our Insta page Le Jardin RoBo.

What role do you think artists have in society?

Awareness is the first word that comes into my mind. There are many roles and ways to connect or react to society. As an artist I prefer standing with my face towards the beauty of nature. I don’t have any illusions that art can change the repeating history of world and mankind. As a human I fiercely believe that we have to take care for our natural surroundings, the oceans, the climate, ecosystems of flora and fauna and that we have to protect this vulnerable balance.

Eilandlicht ( The light of Isles) 2017
encaustic and oilpaint on driftwood
17 x 30 x 4 cm

What inspires you?

Inspiration is in everything: art, nature, the changing light of seasons, travels, philosophy, natural history, literature, poetry, music, coastwalks, hours in the garden.

What have you learned from your career as an artist that you would like to pass onto other practising artists?

Work hard, be kind, it’s not about ego, make a lot, improve, show your works and communicate through your work.

And two books that were of great importance for me:

Agnes Martin – Writings, 2005, Publisher Hatje Cantz Publishers

Kuo Hsi -An essay on landscape painting

Both painter-writers write about the untroubled mind, and find words describing the act of creating and the best circumstances to follow your path and do your work.

Do you think artists need a goal?

It’s all about balance, exhibitions are great goals to push yourself towards your very best. Artist residencies on the other hand are so very important for working in new surroundings and offering time to research.

The act of painting is vital by itself, just start and your goal will appear.

What could you not live without as an artist?

Studio space and inner fire

Anke Roder in her studio in Zandeweer, the Netherlands, photographer Hans de Bruijn

Where to follow Anke Roder:

WEBSITE : ankeroder.nl

FACEBOOK : www.facebook.com

INSTAGRAM : instagram.com/ankeroder/

instagram.com/le_jardin_robo/

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September 24, 2020September 24, 2020

Artist Interview: Karin Arink

Manifold Mumbag & fragments of the white visions 2006

Can you explain who you are and what do you do?

I am Karin Arink, I am an artist and art educator.

My work has always consisted in a balance of collaboration, art education and an individual studio practice. In my collaborative work, I take on different roles, a.o. as communicator or co-curator for projects by Foundation B.a.d, and I have also done collaborations with a.o. Jeanne van Heeswijk and Renée Kool.

After some years of guest lecturing in various art schools in the Netherlands and Belgium, I started teaching at the Willem de Kooning Academy Rotterdam. I became first a tutor in what then was called ‘Professional Orientaion’ classes, then a Student Career Coach and am now the Course Leader of the BFA Fine Art and BFA Photography, both in the School of Art.

In my individual work I use a variety of media, such as text, drawings, animations and (textile, papier maché) objects and (cut-up) photos. The choice depends on what experience I choose to convey.

I make (wearable) sculptures and re-photograph these to make metamorphosing ‘states of self’ visible.

What themes do you pursue in your work?

My works embody what I call ‘states of self’: interactions between corporeality and ideas on how you should manifest yourself – through body postures, garments, language. Through transformed (physical) shapes, I aim to reconnect interpretations of who “I” could be, to an affect-rich experience of existence.

How has your practice evolved over time? What has been the main driver of that?

I started out a very ambitious young artist and was accepted to the Rijksakademie Amsterdam directly after finishing my BFA in Rotterdam in 1990. At the Rijksakademie I worked, finding my style and focus, and then started applying on open calls. After some half-succesful attempts, I did get into the final selection of the Prix de Rome Sculpture 1992 (together with Joep van Lieshout – now AVL, Tom Claassen and ao Mark Manders) and I won the First Prize. From that moment I worked as full-time artist (living off selling work and getting some government grants) up and until 1998-1999 when I went to live and work for a year in Japan, again with government funding. I participated in numerous exhibitions in the Netherlands and abroad, including the Van Abbemuseum, Centraal Museum Utrecht, Boijmans van Beuningen, Museo Pecci, Stichting De Pont, Gerhard Marks Haus Bremen, Rijksmuseum Twenthe (until 2021) etc., and had solos in a.o. Stedelijk Museum Schiedam (2008) and in Club Solo Breda (2016). I was represented by Galerie Tanya Rumpff in Haarlem and am now represented by RAM Galerie Rotterdam.

During all this time I was also actively participating in collaborative projects with artists like Jeanne van Heeswijk and Renée Kool. And most of all as a member of artist group (now artist-run residency) Foundation B.a.d, with whom I realised projects a.o. in the RCA Galleries in London (in the exhibition Democracy! in 2000). I have always liked the dynamic of artists thinking and creating together

When I came back from Japan, I started guest lecturing more and more and really loved doing it. With Foundation B.a.d our next project was to make sure our squatted school could become a long term artists residency, and this we achieved in 2012 after 10 years of lobbying and work.

Over the years, I decided to take art education more and more seriously. When I started a family, my focus became more on teaching and collaborating and less on my solo career even though I always want to continue making and exhibiting my work. I did a Master in Education in Arts of the Piet Zwart institute in 2014-2016. At the moment I am creating a new series of sculptures titled VerteerWezens (the Dutch verb ‘verteren’ means to digest, to process).

What role do you think artists have in society?

Maybe a metaphor is helpful: if society is a bread (with a focus on being practical and nutritional), then art – and all the micro ways people have of diverging, of thinking and acting differently – are like the air bubbles in it, left by the yeast. It may seem disfunctional or even silly, but without art and all these pockets of diverging thought, society would become too dense and heavy and indigestible.

Can you describe a real life situation that inspired you to create?

My work is always inspired by my awareness of how I exist in relation to others.
To give an example, when I was graduating from art school, I was in a love relationship for the very first time. I realized that what I require of my love overlapped with what I would ask my viewers: to take me seriously, pay attention, be critical, be open minded, etc. So I made a text-as-work, embroidered, with all these short sentences.
Sometimes my work evolves from a more affect-rich sensation (for instance, of being very close to another) and then the physical shapes I make are like bodies melting into each other, for instance in a work like tweeen 1996.

When you create an art installation, from where does your process start?

Often it starts with a word or a line. Sometimes a line of a song text, sometimes text written by me. For instance my installation I made for De Pont museum’s Project Room was titled Manifold Mumbag and fragments of the white visions. ‘Mumbag’ is a word I devised as describing both the terrible, and strong aspects of becoming a mother – a ‘scumbag’ holding and birthing and cleaning and caring for the child. The Manifold Mumbag was a huge textile object, large enough to walk into, made of pink, purple, lilac and white shiny polyester satin bedcovers sewn to form bulges and limb-like extentions. The fragments of the white visions were a spoken text, a fragment of my artist novel S. the Bearer of STATE (2012) in which the protagonist is enclosed in a white white space.

What have you learned from your career as an artist that you would like to pass onto other practising artists?

That the art world is multi-faceted and holds many different art worlds with different value systems. What one adores, is hated by another, so it is important to find the world you can work in. Also, all art worlds are changing and unpredictable, so what is regarded as stupid now can be genius later. So keep to your own path! Keep making! And find your allies..

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

What kind of goal? Do you mean success-wise, or content-wise? I have no idea and would not feel capable of answering this for others. I used to have a goal of becoming very well known, but then I felt that being an ‘art star’ seemed to require all of my attention and I was not willing to give that to art (my art, nor the art world). For me communication with others both outside and inside the art world is much much more important than my own career. I love seeing an insight land during a talk with a student, or to share my knowledge with colleagues in Foundation B.a.d. My goal now is to continue creating works, as I feel that now I am 50+ my perspectives again are changing and I want to create from these new points of view.

What could you not live without as an artist?

I could never live without creating new work (whether it is in text, image, sculpture, …) or without the dialogue within art education.

Where to follow Karin Arink:

WEBSITE : https://dekko.nl/

FACEBOOK : https://www.facebook.com

INSTAGRAM : https://www.instagram.com

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September 3, 2020

Artist Interview: Rachael Champion

Rachael Champion was born in Long Island, New York, USA. She graduated with a Postgraduate Diploma in Fine Art from the Royal Academy Schools in 2010. Champion lives and works in Thanet, UK. Champion’s work has been exhibited in a number of recognised institutions including The Whitechapel Gallery, Modern Art Oxford, Camden Arts Centre, and the Zabludowicz Collection. Rachael has made numerous site-specific installations in a variety of contexts including commercial galleries, artist-run exhibition spaces, art fairs, and remote landscapes. In October of 2019 she installed Tower of Varieties, an ambitions eleven metre suspended sculpture at the Hippodrome Theatre in Birmingham, UK. In 2017 she completed Discoverers of Onkalo, a permanent installation on the island of Sarvisalo, Finland commissioned by the Zabludowicz Collection. Rachael is represented by Hales Gallery London / New York.

Can you explain who you are and what do you do?

My name is Rachael Champion and I am a visual artist working predominantly in site-specific installation art. I also make work in a range of other media which include sculpture, collage, performance, and costume. My site-specific works are typically large in scale and consist of living organisms and ubiquitous building materials.

What themes do you pursue in your work?

I explore the physical, material, and historical relationships between ecology, industry, and the built environment. I am interested in the corporeality of the raw materials our species extracts, transforms and consumes and how these actions affect the physical characteristics of landscapes and ecosystems. I am interested in biology, geology, architecture and infrastructure and through my work aim to create a place where these themes coalesce.

When did you become curious about performance art?

I have had a connection to performance for most of my life. As a young person I was heavily involved in a community theatre group and also the music department at my high school. I have also supported my art practice as a theatre technician since I was an undergraduate student. My experience in constructing and installing scenery has directly influenced the way that I make sculpture and installation.

I have always loved making biomorphic costumes and have done so for many years more as a hobby. My costumes are heavily inspired by marine life and micro-organisms. In 2014 I started working at Goldsmiths in the Department of Theatre and Performance as a scenographer. It was then when I began to seriously consider how costume and performance could become a more integral part of my practice.

Depending on a given goal, what drives you to pursue performance or installation art?

I am interested in making installations because I want my art to be in a provocative dialogue with the space or place where it is situated as well as the humans who are engaging with it. With installations the artwork can become physically integrated into a space more so than other forms of art I pursue. I want my work to conjure the physical experience I have with architecture where being in a space or next to a structure has an effect on my physical body.

I consider my performance work as a subtext to my installations and sculptures. My biomorphic performances anthropomorphise biological life which enables me to directly communicate information about these subjects in a playful way to an audience. I have also found performance to be a productive way for me to collaborate with other artists.

What role do you think artists have in society?

I think it is an artist’s job to interpret the world through their passions, concerns, and expressions, ultimately contributing to a greater understanding of all subjects, particularly in regard to our societies and the environment.

Can you describe a real-life situation that inspired you to create?

When I started gardening, I noticed that peat-free compost was a thing. This led me to research what peat is and why it is a controversial growing medium. Peat is a fascinating material having been dried and burned by humans for millennia as an energy source, forming so slowly it could be classed as a fossil fuel, and one of the best carbon stores on
Earth. For years, when I met someone Irish, I would ask them about bogs and turf cutting. In 2016 I sat next to writer and heritage enthusiast Caitriona Devery at an event at the Tetley in Leeds. Her family is intrinsically linked to the Irish midland bogs and she invited
me to her hometown for a project. This flourished into one of the best art adventures of my life which was creating Carbon Flux in the Turraun bog in Co. Offaly Ireland.

When you create site-specific sculptures, from where does your process start?

I start by researching the natural and industrial histories of a place. There is usually a point where they overlap and this intersection becomes the starting point for an artwork.

What have you learned from your career as an artist that you would like to pass onto other practising artists?

Just keep going……….. rejection is simply a part of being an artist.
It’s a good thing to be uncomfortable with what you are making. It means you are pushing yourself into new directions. Stinkers will inevitably happen along the way. You have to seriously care about your work because at times it will feel like no one else does. Even the most famous and successful artists have doubts about their work.
Be generous to other artists.

Tower of Varieties,*1 1 x 2.7 x 2.7 m*, 2019

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

I am not sure an artist needs an ultimate goal, but I imagine many artists do have one. My ultimate goal is to work full-time as an artist. I would also love to do an art and natural science research fellowship at a University. Of course, the Turner Prize, the Paul Hamlyn Award, major museum retrospectives, and biennales are all in there too. Ultimately, I want to make work that is aesthetically unique and speaks of subjects relevant to our time.

What could you not live without as an artist?

Wikipedia. It is the starting point for so much of my research. And also, my impact driver. It is my favourite power tool.

Where to follow Rachael Champion:

WEBSITE : www.rachaelchampion.com

INSTAGRAM : www.instagram.com/rachaelchampionart

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July 16, 2020July 16, 2020

Designer Interview: Julie Nicaisse

Julie Nicaisse is a London based designer born in Belgium. Julie gives life to metals by translating the magic and mystery of unconventional beauty found in nature, and turning it into talismanic adornments amalgamating organic elements, dark elegance, a passion for history, and a love for the planet and admiration for its fauna and flora.

After graduating from Art school in 2000 Julie crossed the channel and left behind her native Belgium in search of new adventures in London.

Following enrolment onto her first jewellery course in 2006, Julie’s craftsmanship ability grew steadily from strength to strength. She acquired her high level of skill through 8 years’ experience working for a number of renowned jewellers before finally launching her own brand in 2017.

Can you explain who you are and what do you do?

My name is Julie Nicaisse and I am a jewellery designer from Belgium who moved to London 20 years ago.

What themes do you pursue in your work?

My inspiration is sought in the “unconventional” beauty of Nature. I translate the way I see Nature into metal. People often look at the obvious beauty, such as the red petals of a rose, but to me beauty lies in the thorns. Because nature is powerful, wild, mysterious, magic but also dangerous.

Recycled 9 carat yellow gold & amethyst Sacred Root ring

When and why did you start designing jewellery?

I started making jewellery as a teenager, using any materials I had to hand to create my own personal pieces.  To me jewellery has always been a way of expressing myself, not only to express my creativity, but also my personality and style by wearing something different and unique that is not available on the high street.

A few years after moving to London, I decided to study jewellery making and enrolled for a 2 years jewellery course. After my first course I trained in several jewellery schools across London before perfecting my skills through 8 years’ experience working for a number of renowned jewellers.  

And in 2017 I finally launched my own jewellery business.

What materials in jewellery appeal to you?

I love working in metals any metals really…

But I also use a casting technique for which I need to first carve the piece in jewellers wax. I really enjoy working with wax too as it is somehow more “playful” if you make a mistake it doesn’t matter so much as if you where working with high carat gold.

Sterling silver Treasure of the Abyss ring

What does ‘human and sustainably conscious jewellery’ mean?

My aim is to create jewellery that has minimal impact on our environment and set out to respect humans. Inspired by nature, I create beauty and strongly believe that jewellery should not be a contributing factor to harming the planet or any of its inhabitants. I make every effort to commit to the use of ethically sought materials such as 100% recycled metal, Fairtrade gold, ethically sought gemstones and conflict-free diamonds and to utilise sustainable production methods from start to finish. By doing so I hope to inspire others to change their habits to a more sustainable way of life.

What role do you think designers have in society?

I believe that their role is to empower and inspire others.

Sterling silver black Heart of Stone pendant on chain

What have you learned from your career as a designer that you would like to pass onto other practising designers?

Always follow your dreams! Never give up!

What could you not live without as a designer?

Nature and London! It seems like the 2 opposite but I really need the right balance between the two. Nature for inspiration and London for opportunities but also inspiration with its beautiful parks, museums and green spaces…

Where to follow Julie Nicaisse:

WEBSITE : www.julienicaisse.com

FACEBOOK : www.facebook.com/julienicaissejewellery

INSTAGRAM : www.instagram.com/julienicaissejewellery

TWITTER: www.twitter.com/JulieNJewellery

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July 9, 2020July 9, 2020

Artist Interview: Lisette Schumacher

Exhibition Loods 6 SBK KNSM Amsterdam, Unité d’habitation Nouveau V, 190x130cm, 2020

Lisette Schumacher is a Netherlands based visual artist. Lisette has always had an interest in architecture. Growing up in Rotterdam, there were plenty of fascinating architectonic projects that could serve as subjects for her work. But across borders surrounded by new impressions, is when you can start to expand your own borders. In 2018, Lisette decided to focus on the designs by Le Corbusier, an influential French-Swiss urban planner and architect who attempted to create a better living environment for city folk through his designs.

On location, Lisette observes the buildings of Le Corbusier, paying close attention to form, construction and use of light. During a temporary stay, she observes how the function of a building determines the shape, layout, and dimensioning. At the same time, she observes how the lighting effects are optimized for the user.

The results of her observations are pure, abstract and spherical works based on technical material research. Light-dark contrasts catch the eye, and the gradients found in the acrylic paint refer to the way in which light falls and spreads into a certain space. In her paintings, all the different lighting situations between day and night are combined. Spaciousness is determined by gradients in colour and contrast, almost identical to the way in which your eyes have to adjust to a dark environment with little light sources.

Can you explain who you are and what do you do?

My name is Lisette Schumacher, I am an autonomous visual artist, painting in an abstract manner.

What themes do you pursue in your work?

Visualizing my perception of architectural designs.

Exhibition Radiant Touch, Art23 Contemporary Art Gallery, 2019

Can you describe a real life situation that inspired you to create?

This happens every time I go on a fieldtrip to visit, observe and absorb a design by Le Corbusier, my subject of research.

Why art? What does creative work give to you?

As long as I can remember, I have always been creative; as a child I did a lot of cartoon drawing and sculpting clay figures, as an adolescent a lot of portrait drawing, as a young adult I made sand sculptures for some years. At art school I discovered the graphic department where I made many silkscreen prints and etchings. Though I loved these techniques I discovered there were too many rules for me in the making process and I wanted to make my own rules. In the end I found total freedom in painting as there I apply my own set of rules and continue to develop my painting techniques.

Exhibition Radiant Touch, Art23 Contemporary Art Gallery, Guangzhou China, 2019

What inspires you?

My starting point to paint is to visit, observe and undergo the designs of Le Corbusier. My first encounter was in a community building in Marseille, I spent a week there, mingling in with the locals and discovering this iconic design bit by bit. A wonderful experience that sparked my artistic research into what is now.

What role do you think artists have in society?

The role of the artist can vary widely; when you make political statements with your art you serve society by showing them a mirror, when you make beautiful things you serve society by bringing them eye candy, when you address history in your art you attract people from society who have an interest to connect the past with the present. Art can play a major role in society on a personal level and large scale. During my first exhibition this year in June, I noticed that a lot of people were hungry to finally delve into art after the lockdown, they simply wanted to escape the boredom of the past months, the restrictions, the not being able to travel. They wanted to lose themselves in the story telling of the artists, they all left the exhibition smiling and rejuvenated.

What is the best piece of advice you’ve been given as an artist?

To never under price your work because then you undervalue yourself and cheap equals lesser quality. Also the only way is up. I was taught about this subject at art academy and it has helped me from day one after graduating.

Bay Window Niche Paris XI, 20x15cm, 2020

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

I think every artist will set their own personal goal. What would you like to achieve in your career as an artist? There is the artist who is very happy and content to just work in the studio and make a body of work but who does not feel the need to show it to the outside world versus the artist that has a big drive to create and show the world what he has made and everything in between. For me it is important to keep creating in concentrated periods of time throughout the year visualizing ideas and then showing them to the outside world. I am interested to see how far I am able to get in the art world, but first and foremost I will always remain aware to continue being a happy artist; I don’t want to become frustrated because there is not enough time to create, nor do I want to become an artist who is uninspired an burnt out because he had to meet too many deadlines for all the shows he was appearing in.

What could you not live without as an artist?

My music! I usually have my playlist on and prefer listening to music that will bring me focus. Male singers with high pitched voices are my favourite, I discovered one day my playlist was full of them. Radiohead is one of my favourites to listen to as Thom Yorke’s beautiful voice in combination with the timeless melodies makes me calm and eventually brings me into a deep concentration every time I paint. When I am not painting but doing all the other stuff I play a wide variety of music.

Where to follow Lisette Schumacher:

WEBSITE : www.lisetteschumacher.com

FACEBOOK : www.facebook.com

INSTAGRAM : www.instagram.com/lisetteschumacher

CURRENT: Suffer Our Values TSA_PDF – Tiger Strikes Asteroid LA printable exhibition July 1 to 16 – Los Angeles United States

UPCOMING:

Galerie 95 solo exhibition Iconic places (I never wanted to leave) August 22 augustus to September 19 – Biel, Switzerland

Root Gallery duo exhibition with Saïd Kinos – September 4 to October 24 – Rotterdam The Netherlands

ARTFEM women artists 2nd international biennial – September 30 to November 30 – Macau China

KunstRAI Root Gallery – October 15 to 18 – Amsterdam The Netherlands

Art The Hague Root Gallery January 6 to 10 2021 – The Hague The Netherlands

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July 2, 2020July 2, 2020

Artist Interview: Pernilla Iggstrom

Banana (Interior Exterior), Oil on canvas, 165x120cm, *2019*

Pernilla Iggstrom is a London based visual artist. Her paintings are the result of a process of investigation into her personal cultural heritage – a journey which explores the effect on her own identity of being born into one culture, then subsequently being adopted into another very different one thousands of miles away.

Pernilla’s personal story is at core, as it motivated her investigations into notions of identity in the first place, but there are also far reaching aspects to what she is saying that she wants to address. She hopes that her art will inspire the viewer to reflect on his or her own cultural heritage, increase the interest and awareness about him or herself and others, and thereby breaking down stereotypical impressions and pre-conceived ideas.

Mainly using source materials derived from her personal archive of family albums and her own photos of the environment, she explores both actual and imagined places (through the nature/nurture concept), where the relationships between the past and the present, the interior and the exterior, and the physical and the psychological are key.

Can you explain who you are and what do you do?
My name is Pernilla Iggstrom and I live and work in Brentwood, Essex, a 25 minute train ride from London, UK. I was born in South Korea but adopted by a Swedish couple when I was 8 months old. I grew up in peaceful 70s and 80s Sweden. Being adopted has always been a natural part of my life and I developed an interest in my heritage in my early teens. I am interested in languages and communication. I graduated from the gymnasium (the Swedish equivalent of college/high school) when I was 18 and took the Trans-Siberian Railway to Beijing in 1988 to study at Peking University.

That was my first time back in Asia and it was a life changing experience. After China, I studied and worked at a few different places and later on lived in Vietnam followed by Singapore for many years. I left the business environment and Singapore in 2007 to move to London to realise my dream of becoming an artist. I did a Foundation in Arts & Design at City & Guilds of London Art School followed by a BA (Hons) in Painting as a mature student which was deeply rewarding. I graduated in 2011 and have been a practising artist since then, showing regularly in art exhibitions.

After having worked in an art gallery and accounting, I now work part-time as a private carer which is very rewarding on every level. I was drawn to this job as I was in meeting people who are full of life experiences and who have lived through the many great world changes during the last 70 years. Listening to their stories is fascinating to say the least and they are so valuable. Spending time with my clients is also inspirational for my art.

Forest (Silhouette Series), Oil on canvas, 91.3 x 91.3cm, 2013

What themes do you pursue in your work?

Using my multicultural background as a spring board, I explore themes of nostalgia, heritage, nature/nurture, trauma, longing and belonging. Being Korean by birth, my exterior appearance is different from the ‘blonde, blue-eyed Swedish personality within, and cultural identity has become the main focus in my art practice. Although my work stems from my personal story, I also want it to be general and universal so the viewer can identify themselves partly or fully, based on their own personal story. There are also far reaching aspects to what I’m saying that I want to address – I wish to inspire the viewers to reflect on their own identity which can stimulate an increased awareness of the cultural identity of others. My aim is to help break down stereotypical and pre-conceived ideas. I am interested in people’s life stories and experiences which have made them who they are.

What role do you think artists have in society?

I believe there are several roles you can have as an artist. One is to only paint for your own wellbeing and pleasure. Another is to be a passionate art teacher spreading the pleasure of creating in a school or directly into the community through creative projects and events. Another is to convey a message close to your heart, whether it be a political or social stance or a subject matter that means a lot to you. Whatever the reason is for you to create, it will have a positive effect on society as a whole, like a ripple effect. The artist’ role in society is very important. Art is often seen as a less important subject in school and less valued in society. Although a combination of more traditional skills and a creative mindset is becoming more and more sought after in the job market in the near future.

Cultural Nomads, Oil on canvas, 57.5×45.5 cm, 2014

Can you describe a real life situation that inspired you to create?

After 16 years of working in Telecom and TV/Media while raising my two (step) sons in Singapore, I was desperate to create again and I wanted it to be more than a hobby. I started by learning silk painting/batik from a local lady but I’d been wanting to learn oil painting for a long time and started to take lessons from an Australian artist, Lydia Miller, once a week. It was a new world that opened up and I fell in love with oil painting. When my sons were in their late teens, I moved to London on my own to finally pursue an education in fine art. It felt fantastic to be able to focus on something just for me that I loved. I sent 4 years in art education – I worked hard and was inspired to be surrounded by like minded, amazing art tutors and students who studied sculpture, stone or wood carving and art conservation. I thrived being in multicultural London with its fantastic plethora of art and exhibitions.

Why art? What does creative work give to you?

I have been drawing ever since I could hold a pencil. I remember drawing in a mail order catalogue while my mum was feeding me when I was a toddler. I was creating and drawing throughout my childhood. My favourite subject in school was Art and I was always happy when I was creating. Art is an expressive language which can be used to convey our inner feelings and thoughts whilst still allowing the viewers to interpret it the way they wish to. There is no right or wrong when it comes to art, it has a value in itself. I am a member of a few London based art groups such as ArtCan.org and Chrom-Art which are very genuine and immensely supportive. They are truly there to lift us emerging and upcoming artists up and give us a platform to create. I am co-curating a booth, “Fabrication of Self” (@fabricationofself on IG), for a group of 8 ArtCan artists at Stockholm Art Supermarket 2020 (which has now been postponed till 2021). My co-curator and I have more or less free rein to create a stand based on the Supermarket theme of 2020, which is “Fabrication”. The faith and support from ArtCan and its founder Kate Enters has been phenomenal. Art makes me happy and I am in my right element when surrounded by it and emerged in it.

Would you say that you have an artistic outlook on life?

I am a very organised person and having worked in the office environment for many years, I am methodical and practical. I’d say that I am in the middle of the spectrum being able to use my common sense and logical thinking mixed with a more creative approach. I often see colour in nature and my environment that I photograph as a note for later and I believe that happiness is key in life and balance is good to strive for in most things.

The Red Ladder, Oil masking tape tracing paper resin on canvas, 57.5×45.5cm, 2014

What inspires you?

Apart from my cultural heritage and having lived overseas in different cultures for over 24 years, I’d say that nature and contemporary artist’ work on Instagram are the main sources of inspiration for me. Meaningful conversations and people’s life stories also inspire ne immensely as I value learning from others. I want to gain life experience – to understand different life situations that can enrich me and broaden my horizon and hopefully make me a better person.

What would be your dream project?

A big multi-disciplinary exhibition with cross-collaborations, and talks and classes by specialist in their field on identity in general, cultural identity in particular. I have planned it for years. The aim is to spread creativity as well as knowledge and tolerance in society about people from all cultures and traditions.

The Space In between Spaces (Cultural Nomads), Oil on board, 52×40.5cm, 2019

What is the best piece of advice you’ve been given as an artist?

To not compare yourself with others but only with yourself and not worry if you don’t create for a period of time. Also, that even moments of not painting are important parts of the whole process of creativity.

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

I think a vision, a dream or aim is something that will keep that special hunger to express yourself alive but I do not think you have to have a goal in order to create in general. Perhaps the goal is the joy of creating, as a pleasure or an outlet. In me case, I am very passionate about my subject matter cultural identity and what it means in today’s society, how we can investigate it and use it to stimulate to conversations, and to built bridges between cultures and classes in order to bring us all together. For me art is inclusive and there for everyone. You should not have to have an art history degree in order to feel entitled to create or visit an art gallery. I have also seen parents tell their children off if their drawing doesn’t look realistic or render an object “correctly”. It hurts me to see someone with plenty of imagination and joy for creating perhaps permanently abandon this important outlet due to a comment. Art is there for everyone.

What could you not live without as an artist?

Oil paint and certain mediums such as Roberson’s glaze medium and liquin and beautiful brushes.

Pernilla Iggstrom in front of her painting “Untitled (Purple and Beige)”.

Where to follow Pernilla Iggstrom:

INSTAGRAM : https://www.instagram.com/pernillaiggstrom/

FACEBOOK: https://www.facebook.com/pernilla.iggstromartist/

WEBSITE: http://pernillaiggstrom.com/

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June 25, 2020

Artist Interview: Chin We

From the series IFE NKIL, “Ife nkili” means “come and see, come and see beauty”

When I first saw Chin We’s work in photography exhibition in London it captivated my imagination. People looking through the lens looked peaceful and content, still, all of them had layers that told a deeper story about the subjects’ lives. This made me return to the photos and wanting to see more about what they hid within them.

Chin We is an award winning visual artist and documentary photographer. She was born in Manchester, England and spent her formative years in Nsukka, Eastern Nigeria and adolescent years in London, England. She is fascinated by humans, portraiture, capturing people’s essence and visual storytelling. Her work explores themes of identity, culture, representation, heritage and the African diaspora. Her photography also champions, empowers and celebrates contemporary African culture and the African identity.

Chin We is a fellow at the Royal Society of Arts. Her work has been published on CNN and several other publications. She was featured on CNN as one of the leading African heroine women photographers, nominated for RPS 100 heroines by the Royal Photographic Society England and won an honourable mention award in the People-Portrait Category in International Photography Awards(IPA) 2018.

Can you explain who you are and what do you do?

I am a Visual Artist, Art and documentary Photographer based in London.

What themes do you pursue in your work?

My work explores themes of identity, culture, representation, heritage and the African diaspora. My photography also champions, empowers and celebrates contemporary African culture and the African identity.

What role do you think artists have in society?

I think the role artists have on society Is dependent on the artist’s subject matter. An artist can provoke, uplift or lead with their work. Artist provides society with history, emotions, rage, colour, texture.

Can you describe a real life situation that inspired you to create?

My culture and heritage inspired me to create. The beautiful people of the African continent that I always see when I travel to the motherland. Also great photography by African Photographers in the 1950s, 1960s, 1970s inspires me.

Why art? What does creative work give to you?

Art is free expression of human mind and senses. Creative work lifts up my emotions and spirits.

Would you say that you have an artistic outlook on life?

Oh Yes! Artists have structurally different brains compared with non artists.

What inspires you?

People inspire me. I love shooting people and telling stories. I am a documentary photographer at heart.

What would be your dream project?

My dream project would be to travel to the 54 countries in Africa and document the various tribes, culture and heritage.

What is the best piece of advice you’ve been given as an artist?

As a photographer! Just go out and shoot! Continue learning, read about other photographers that are in your theme of work. There are so many learning materials on the internet. Lastly! Go out and shoot!

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

For me personally, the ultimate goal is to be happy, focus on my craft and continue being passionate about my work.

What could you not live without as an artist?

My Camera, phone and note pad.

Where to follow Chin We:

INSTAGRAM : https://www.instagram.com/chinwe.me/

WEBSITE: http://chinwe.me/

TWITTER: https://twitter.com/chinw_e

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June 18, 2020June 18, 2020

Artist Interview: Kira Phoenix K’inan

I’m so excited to start this blog with a fascinating London-based artist and designer Kira Phoenix K’inan. Her work brings together fine art and craft through glass sculptures, works on paper, installations and multi-exposure photography.

K’inan finds interest in deconstructing the familiar, and through different creative processes, she is able to abstract the form and develop something entirely new. She finds drawing her main method of expression, where the line as we know it is usually a linker form that follows an axis with a consistent trajectory. She creates abstract drawings inspired by her surroundings and explores the occurring interconnections.

She completed her MA studies at the Glass and Ceramics Department at the Royal College of Art, where she explored traditional glass techniques, and translated them into a contemporary series of glass sculptures. She has developed a unique technique of low relief drawing, the Relief Drawing Technique, where she carves directly into a plaster sheet and casts the piece using fine ground glass.

K’inan has done two residencies in Stockholm and Edinburgh, and has exhibited globally, a particular highlight being Emerge Bullseye 2018 and being shortlisted for the Ashurst Emerging Artists Prize in 2019.

Can you explain who you are and what do you do?

I am a mixie, third culture kid, born in Hong Kong and have lived in Singapore. I have continued to draw inspiration from these experiences and used them to create glass sculptures, works on paper and photographs. I also work as a one to one tutor, with special focus on supporting students with learning differences.

What themes do you pursue in your work?

My work explores the transitory nature of emotions, the deconstruction of what drawing can be and how we translate the two dimensional into the three dimensional.

What role do you think artists have in society?

The artists role is very important as we can shine a light on issues that need to be discussed, or in times of crisis can bring much needed beauty into the world. Art also allows for the person to reconnect to the tactility of material.

Can you describe a real life situation that inspired you to create?

I have had several instances in my life that have given me the extra emotional charge to create new work. In the current climate I have found that creating new work has allowed me to process the emotional roller coaster and uncertainty we are all living through.

Why art? What does creative work give to you?

Being an artist allows me to express myself without words and has become a way to mediate. I also enjoying making work that can look beautiful, but on closer inspection can be challenging due to the works fragility or the realisation that it is a little more sharp around the edges.

Would you say that you have an artistic outlook on life?

From all I have experienced, I like to find the meaning that resonates or use the situation to learn more about myself.

What inspires you?

I find a lot of inspiration from the natural world, or from deconstructing the familiar through abstraction.

What is the best piece of advice you’ve been given as an artist?

The best piece of advice I would give is to take a business course alongside your creative courses. This will give you a clear understanding of how to run your company professionally and give you the confidence to handle many of the unexpected situations that come your way. I would also make sure you have a licensed lawyer look over any contracts before you sign them.

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

I set myself goals, but what I have learnt over the years is not to expect too much from one experience and to be open to opportunities that come out of left field. Allow opportunities to come, see them for what they are, and when they have passed, stay open for new ones.

What could you not live without as an artist?

My watercolor pallet, paper and brushes. Most of my ideas start with creating works on paper.

Where to follow Kira Phoenix K’inan:

WEBSITE : www.kpkinanglass.com

FACEBOOK : www.facebook.com/KPKinan

INSTAGRAM : www.instagram.com/kpkinanglass/

TWITTER : www.twitter.com/KPK_inan

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