From home and abroad
Twenty five glass artists from the Netherlands and abroad have been invited by curator Renée Korbee to exhibit at various locations in Tubbergen in Twente. A number of artists have already exhibited work in previous editions of Glasrijk.
Curator Renée Korbee has once again succeeded in creating an interesting exhibition in which both “golden oldies” and new young talent are present. More than 850 glass artists with more than 35 nationalities have preceded them in the past 25 years. More than 850 glass artists with more than 35 nationalities have preceded them in the past 25 years. Glasrijk continues to offer young glass artists an important stage. After a year and a half of unwanted insulation, they want nothing more than to ‘shine’, and show their thoughts to the outside world solidified in glass. ‘Biodiversity’, ‘me-too’ and ‘scientific complexity’: just a selection of the themes that the artists are concerned with.
'My choice of glass as a medium of expression is not so much deliberate as purely dependent on the intriguing appeal of this matter. A matter that was discovered centuries and centuries ago as if by chance and from which countless pieces have since been made, which both as utensils and works of art stood the test of time. Despite the fact that it is a fragile and fragile material, artists, designers and industry are getting more and more application possibilities. For me, a material that inspires, seduces, challenges and teaches.' With both the fascinating installation 'Golden Future', where seven glass spermatozoids who have the future in them with a golden head predict a similarly golden future as the objects entitled 'Nucleus', Veerle pays tribute to the 'cell'.
The German Katharina Kleinfeld has been working 'for the lamp' for more than 20 years. It refers to the technique in which the liquid glass is formed from prefabricated glass tubes or rods at the work table by a glass burner. Her preference is for archaic forms such as the egg, the stone and the cell, as well as simple, geometric shapes. In doing so, she consciously uses the unique material properties of the glass: the transparency and the associated ability of the material to store, pass through, send and return the light from the surrounding space in equal measure. In Glasrijk Tubbergen Katharina shows a.o. 'Ummantelt'. It seems as if the 'encapsulated' tree both attracts and retels the viewer. Inviting because of the transparent beauty of the object but at the same time a warning: keep your distance from our vulnerable
'Men who are locked up are often stuck in their addictions, their wrong habits or in their world with voices and moods' As a chaplain, Anneke Bijleveld met them in correctional institutions. 'Unknown men made an appointment, a cell opened, a story brought life into the picture and confidence grew. Men at a distance came closer and opened their hearts.
The insights that you can free yourself from your addictions, your habits and your moods I have tried to make visible in my glass objects with the name: 'Handcuffed and Bound.
After the Art Academy Enschede (AKI), where she graduated in monumental design/scenography, Josien Geerdink came into contact with glass art in 2009. With techniques such as glass casting (pouring into a mold) and pâte de verre (construction of form d.m.v. glass grains) she makes objects and installations. With 'EC 2019, The golden age thaws', everything that remains is vanity in 'verijst' lace, she has shaped Rembrandt's portraits of Marten and Oopjen (1634) in full size. 'I am fascinated by the brushwork of the painters in the Golden Age. At first glance you think you see a realistic representation like a photo but stand closer on the canvas and you see that it was precisely fabric treatment that challenged the painters to a much more abstract touch. The illusion makes the fabric almost palpable.
In order to capture both the abstracted handwriting of painters and the temporality of everything, I wanted to evoke, with only the precious Brussels side, as iced remnants, the illusion of the long-gone citizen.'
In her collection and material research, designer Anne Büscher pushes the boundaries of glass as a material. Her collection of wearable glass, presented at Dutch Design Week, consists of pieces of series of unique earrings, in which the hook is also made of glass, and a dress made of delicate glass rings that are assembled and melted one by one. The designer originally from Germany but now living in Maastricht likes to experiment with glass. From these experiments grew a
esearch project called 'How to Find the Unsought Finding', which consists of almost 80 findings that came from the experiments. 'I experimented with glass for a year and a half, worked with engineers and learned how to blow glass and 3D print.'
The unruliness and transparency of the material challenge her to go one step further every time. It is always exciting to open the oven after the long firing run and see if the glass has behaved as she expected! Colorful and abstract, these are the most characteristic aspects of her work. Her great passion is continuing to experiment with new techniques in which the glass is always central. Marjan has been following a glass art course at the IKA in Mechelen (B) since 2017. 'The shards on the swing represent all the beliefs I have in my head that are holding me back from doing what I would actually like to do, which is to play.'
The series 'Unconvertible identity' consists of a collection of four pumps.
'For me, these pumps were created to shape the woman.
The shoe stands for the woman, for her identity and the way she portrays herself in society. The extremely uncomfortable shoe shows the degree of adaptation to ideal images of others and the complexes that arise when running away or denying one's own self. The 'Cinderella complex' is about daring to be independent.
The beauty ideal of the vulnerable woman who needs protection and care. This shoe is a call to hang the glass muzzle on the willows, to find your own self and to pursue it.
'In recent years, I have focused on the extraordinary complexity and beauty of science. The phenomena of light, gravity and microscopic cellular structures can be more fully understood and revealed, using scientific methods. These can then contribute to new knowledge.
The scientific perspective and approach makes me curious, why some topics remain questions and others are answered relatively quickly. I have translated these explorations and questions into sculptures.' With the installation 'In the beginning', Anna wonders what happened before the Big Bang. A mystery that almost everyone deals with at some time. How did life come about, scientists can already give a nuanced answer to that and what we do not know has been filled in by the different religions for centuries. Glass as a material has contributed greatly to scientific discoveries with the lenses of Constantijn Huygens and Baruch de Spinoza, and later the microscopes and telescopes.
Yoshiko Okada was born in Tokyo and studied clothing and kimono design at Seitoku Technical College in Japan, before moving to England in 1995. After a long training as an engraver and stained glass expert, Yoshiko graduated in three-dimensional design and glass. Her inspiration comes from her own Japanese background combined with her personal experience with Western culture. 'When I'm asked to explain my work, it's quite complex as my view of the world keeps changing. My work always has a Japanese touch in combination with my personal experiences in my current living environment in England and France. I work with oven-cast glass that concentrates on forms of simplicity. My work explores themes such as memory, identity and the human condition. Although this is seemingly complicated, it often leads to simple forms of expression or symbolism.'
Art is often about beauty. Can illness then be a source of inspiration for the visual arts? After his own experiences with cancer, Oscar van der Linden has experienced that illness can stimulate creativity. In the end, his experiences have been positive and cathartic. 'It may sound strange to say that I just had a great time, thanks to the nice doctors and nurses. I was inspired to get to work visualizing my cancer. It couldn't get more personal. I wanted to get rid of my cancer as soon as possible, it didn't belong to me, it felt strange. The
rolled up cells' had to be packed and quickly left... It mouthed
out in the project 'Beauty and The Beast; getting rid of the cancer'; a series
glass works in which I have everything that came with my illness and healing,
Sacha: 'when a crowd moves, it looks like the movement of water, which in turn resembles the way trees and plants grow. That's a structure that is divided by all life, even lightning with its branches looks like a tree. This quote by Giuseppe Penone (Italian sculptor) hangs in my studio. It describes exactly what I recognize in my drawings and glass art. I am inspired by nature, find structures there that I use in a drawing. I think I draw something very unique with it and then I recognize the drawing in something else. It is proof that I am connected to everything around me, that I am that structure that is shared throughout all life. And when I work, engrave or draw, that structure comes back to consciousness. When you walk into the artwork Consiousness, you walk into my head, as it were. The empty space is energy, and the orange is the connection with the earth. Everything flows from top to bottom and vice versa in a continuous interaction.'
mage, Sacha Brienesse, Consiousness, an installation of mould-melted engraved glass, monoprints, linoprint, steel, wood, paper and LED light. Diameter approx. 4 meters, height approx. 3 meters. Visitors are encouraged to walk into the artwork and thus experience the flowing experience.
Mark de Jong's work invites you to observe for a long time and marvel at the hundreds of minimalist figures dipped and drawn with a crown pen in Indian ink. The combination of the black and white drawing with the transparent glass object, made up of fine grains and splinters; in this case, coming from a busabri destroyed by vandals, pushes his skills to the limit. 'Time is killing us' says something about the hectic pace in society that is becoming increasingly demanding and creating sky-high expectations. Still, it's not a melancholy story. If you take your time, you can see the creative brain of the artist stuck in his work with spindly cogs on his head as a humorous addition. The recent corona crisis has challenged Mark de Jong to new, fascinating work in which the now widely known covid illustration is a protagonist.
'My home is my castle'; this expression has been very applicable to most of us in the past corona period. But was this really the case? Jan Hooghiemstra wondered what 'your home' does to you when corona sneaks into your house. The 'mandatory' sitting at home has had different consequences for everyone. We have experienced safety in our respective houses. We know that for some it was claustrophobic and increased the feelings of loneliness. The balanced series, which was specially made for Glasrijk Tubbergen, has, in addition to the 'house' as its theme, an overarching theme namely: 'thoughts stumble over what you don't see'. The house should always be that safe and familiar environment, but is often in stark contrast to what is going on behind the front door of the walls, the clubhouse and the house of worship. The sculptures have therefore all been given the name 'Struggle'.
In 1996, the stained glass windows in the Pancratius basilica in the centre of Tubbergen formed the basis for the Glasrijk Tubbergen event. Diego is the fifth generation in a dynasty of glaziers. In the impressive basilica are the stained glass windows that have been executed by him and his family. Partly due to his family name he owes his greatest commission to date: eight stained glass windows for the medieval cathedral of Roermond. An assignment that he started in 2005 and whose size is a rarity in today's unchurched world. The 'resistance window' received a lot of attention in the press. Under a large cross appears a fictitious concentration camp with well-known Catholic Nazi victims such as Titus Brandsma and Edith Stein. The German guards have skulls as their faces. His windows also refer to current themes such as ecology and the refugee problem. Nicolas gives his own twist to the old performances. It is modern art made with medieval means.
The plant 'Inspiring Seeds', hanging high in a tree, consists of a series of glass seed pods. The work represents the flight of the seed of the maple (the helikoper). The play of the light creates a suggestion of movement both in daylight (with or without sunlight) and in artificial light in the dark. Liliane was inspired by the many seed boxes that lay on her terrace; delicate wings with swollen seeds that were ready to burst open and reproduce. When she read a scientific study about the flight of these seeds, it did not let her go. In the end, the search took a long time before she could realize the idea in glass. It is also a symbol for the cycle of life and death and is about the 'resilience' in nature.
Hieke Meppelink made two installations, 'Ode aan de Stilte' and 'De Stille Luisteraar', both with the listening ear as a metaphor. Hieke is a concert singer and visual artist. Classical song art is an important source of inspiration for her sculpture. The project 'De Stille Luisteraar' shows her affinity with sound and is an ode to the audience who listen attentively during the concerts. It consists of 44 luminous ears in a tree, made of epoxy with glow-in-the-dark pigment. In the floating pond installation 'Ode aan de Stilte' (27 ears of synthetic resin) she invites meditative silence. Because, she says, "only when you really become quiet inside do you hear so much more". Artist Paul Funcken, who previously participated in Glasrijk Tubbergen, has been asked to cast and slump glass ears especially for these installations The ears have been added to the existing work of Hieke. Both artists were inspired by each other's work, which led to a fruitful and constructive collaborative project. In this way, Glasrijk offers interesting opportunities to show different art techniques in one work of art and thus continue to surprise the viewer.
Curiosity and a desire to understand and master as many materials and techniques as possible led Myriam to work with glass. Her penchant goes out to the minimalist. Works of art by the post-war Belgian avant-garde, abstract constructivist art, the group zero and conceptual work do not leave her untouched. This sometimes results in series or series with a certain rhythm that refers to the idea that everything at every level is part of a larger whole. The series have an abstract sleek shape using the beam shape/cuboid in wood combined with glass. Reflections on the damage to our natural living environment resulted in the series CONSTRUCTION/DECONSTRUCTION/OLEUM that draws our attention to the pollution of our seawater by, among other things, oil and plastics.
Tinne Vroonen combines engraved glass with handmade paper and creates sculptures with embedded stories. She investigates how themes such as history, culture, family, religion and happiness play out in our lives and what influence society has on the world, but also how climate change determines our society. Of particular importance in her work is her exploration of the identity of women in this. What does it mean to be a woman? In her work 'Vivarium' made especially for Glasrijk Tubbergen, it is about the life of trees and plants. Like humans, they are social organisms. They are intelligent and have senses, they form networks and communicate with birds and insects and with humans. Tinne likes to invite the visitor to view the engravings in the heart of the sculptures, which each tells about a different aspect of this hidden life.
Patricia Overdam: 'what started about an issue about rooting in a new place, ends in a question 'How are we rooted?'. Are we still in touch with our nature and our roots. Not everything is being taken over more and more by digital roots. Aren't we creeping away more and more behind our screens without feeling what is real? We check nature through screenshots and computer measurements. Do we remember the expressions: 'Evening red, water in the ditch', 'If the swallows fly high, then it will probably stay dry'. 'If rain comes for the wind, iron your sails quickly'. Seeing rain is different from feeling rain on your face. Shouldn't we be standing with our feet in the earth again?'
Paul has been working as a visual creative professional for over 35 years. "I am often approached for designs of graphic and spatial projects and as a visual artist. I often work with combinations of materials: glass in combination with wood, stone or bronze. "The technique of form melting fits best with my visual language. I approach the glass like a sculptor, I sculpt, chop, sharpen and melt the glass to my hand. With each project I want to discover new skills to disrupt both the expectations of the viewer and those of myself. For me it is important that a work of art comes out of my hands, otherwise it does not feel like my image." "I get my inspiration from, among other things, abandoned grounds and buildings, antique or modern architecture and natural forms of living. I use these form elements that I translate in my own way or put in a different perspective. I often work with the pure material, characterized by the sober or little color use." Paul lives and works in Udenhout.
The series 'Cloudflowers' consists of various compositions of loose mushrooms cut from copper and enamelled. During Glasrijk a selection will be exhibited. Geertje says about this; 'sometimes I walk outside and then an undermining apocalyptic feeling creeps up on me. I see litter and sawn-down trees everywhere. This heaviness makes me extra sensitive to beauty because it offers comfort and an escape. And that's what mushrooms give me." The title 'Cloud Flowers' comes from an apocalyptic novel 'The Year of the Flood' by canadian writer Margaret Atwood (Handmade's Tale): 'Mushrooms were the roses in the garden of that unseen world, because the real mushroom plant was underground. The parts you could see – what most people called a mushroom – was just a brief apparition (schim). A 'cloud flower.'
'Biodiversity', 'me-too' and 'scientific complexity': just a selection of the themes that the artists who exhibit at Glasrijk are concerned with.
The installation 'Cocoon' by the German/Dutch Kim Gromoll, shows deceased insects that she collects during everyday life and puts in glass cocoons. An opportunity for the viewer to look more closely at these little creatures that represent most of life on the planet but are the first to fall prey due to the current climate problems. Encapsulated in a thin and fragile, glass cocoon, they are given temporary protection and are retained for external influences. In addition to the glass cocoons, Kim also shows fragile works on newsprint entitled 'Habitat'. These works of art also eventually fade into dust.
Krista Israel is a visual artist with a focus on glass. When you look at her work, it's like entering a story. The artworks are a feast for the eyes, but there is a layer of bittersweetness in each of them. Her works are in a realistic style, but it's not about the abject reality. Krista is an artist who uses a wide variety of techniques, using the natural properties of glass to express her thoughts and reflections on the world and people and thus respond to the needs of our well-being.
The fruit from the series 'Keeping Up Appearances' are lavishly decorated with rhinestones. Inside, they look like exactly all the healthy foods we know – apples, pears, lemons, melon and oranges. However, the exterior is covered with rhinestones, fake diamonds, to disguise the fact that they may not be as healthy as we think. Genetically engineered food is all around us. We have no idea what the effects will be in the long run and yet we put it in our mouths. These glass objects are a feast for the eyes and look delicious. But how delicious are they? When we look closer, we see a layer of bittersweetness in this work, a warning that we should always look beyond glitter and gold.
The direction 'Design Glass', taught by glass artist and participant in various Glasrijk editions Krista Israel, has been added to the training programme of the Vrije Academie Nunspeet since 2018. Spread over 3 years, various technical aspects of glass are taught. Cold operations such as engraving, sawing, grinding, sandblasting. And oven-shaped glass – fuses, slumpen, pâte de verre and kilncasting (solid shaped glass). Gradually, the technique will become more secondary to the design and expressiveness of one's own work.
Glasrijk Tubbergen's spearhead is to offer young glass artists opportunities and a stage. In this way, this year's theme: 'Glass (richly) in development' is energetically taken up. On the initiative and under the guidance of Krista Israel, students have varied on the theme 'Mirror'. The idea arose to give students the assignment to work on this from a square basic form of mirrored glass. They have let their creativity run wild and have given the square/rectangular basic shape their own voice, using various glass techniques. Some objects are freely placed in the Eeshofbos and others can be viewed in one of the horticultural greenhouses placed in the forest.
The glass objects of Nadjezda Schokker are very quirky. Glass challenges her by the tension during the creative process in which her ideas must be realized in the red-hot object in a short time. Glass challenges her by the tension during the creative process in which her ideas must be realized in the red-hot object in a short time. Failures are therefore inextricably linked to working with glass. Because she likes to look for the boundaries of the material, wants to make large objects and experiments with the form, she also works together with master glassblower Richard Price. In addition to her great love: glass blowing, she also works with other techniques such as fusing, glass casting and stained glass. Her objects have a colorful and playful appearance and are sparkling and complex.
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