Knotted is a series of masks made of spool knitted cotton which is then knotted and sewn together. I started these series during the Covid-19 pandemic (2020 / ’21). The masks are a way to hide feelings, but at the same time can be very revealing…
In 2020 I made a series of masks in which I investigate my personal emotions, reactions and thoughts about the Civis-19 pandemic. Since most of them are made during lock-down I have mainly used materials I had lying around my studio and home.
In 2017 I have worked at TextielLab in Tilburg. There I have translated a Cityscape drawing into a wall tapestry: Cityscape Tapestry (TexLab) 1. In it I combined several techniques: the base is woven and on top of this I ‘pinned’ with embroidered circles a laser-cut layer. I also made 3 Cityscape plaid & pillow sets.
In 2019 I returned to work at TextielLab to make 4 more Cityscape wall hangings. Again I combined several techniques in them: weaving, laser-cutting, knitting, cable making.
Thanks to Textiellab & St. Stokroos for making this project possible.
Cityscape tapestries 2017, 94 x 140 cm.
An ongoing series of layered cityscapes with a silkscreen printed base on fabrics. Cityscapes 1, 2, 3 were presented in a pop-up exhibition during the Design Kwartier festival in Den Hague in May 2017 on the invite of the Grafische Werkplaats where I did the printing for them.
‘scape trials at the Analog Textiel Festival, 2014.
For the Analog Textile Testival in 2014 (organised and hosted by the Grafische Werkplaats) I made a series of ‘scapes with newly learned silkscreen techniques. Learned them from Daniel Henry during a workshop at this festival. The ‘scapes trials were presented during an exhibition at Hoop Warenhuis, Den Haag.
Also presented at the Mr Weiss exhibition in 2015 at Binckhorstlaan 215, Den Haag.
Silkscreen prints on fabrics, mostly 45 x 45 cm.
The presentation form can vary.
There are also a couple of hangings and ‘carpets’ that went with the presentation at Hoop Warenhuis.
idi@Arnhem, Scratch Battle, 2011.
Bebe, the flying mermaid.
For this ‘scratch battle’ I scratched out the poster-image of Bebe, the flying mermaid.
Organised by the Independent Drawing (IDI) Initiative at the invitation of de Gemeenschap Beeldend Kunstenaars (GBK) at Willemsplein 3 in Arnhem.
Scratched out white paint on windows
Terugblik in kindertijd, 1998 & 2006.
‘Looking back at childhood’ showed semi transparent and fading ballpoint drawings and (teddy bear) blanket sculptures transforming the Ververs gallery in Amsterdam in my personal, but recognisable, so everybody’s, childhood universe.
all drawings are 100 x 75 cm., ballpoint on kite paper and are sealed.
Teddy bears, 2008 & .
The teddy bear: thè ultimate stuffed animal from our childhood days. An object without a will upon wich we project all our love and hate, dreams and fears. For a while. Then we grow up and dump Teddy: used up and no longer wanted. How would the bears look when all that they have absorbed in that time would be visible?
Teddybears, big and small, made from second hand blankets. Variations on the traditional pattern of the original Teddy bear. I made the small ones for the exhibition ‘Terugblik in kindertijd’ at Ververs and the big ones for the performance of the ‘Foolish People’ called ‘Terra Extremitas’ at the docks in Amsterdam.
From 1994-1997 I participated in the Erolife fair with a couple of projects with an erotic connotation to see if a different audience could be reached.
Vingerbad / Finger(s)bath 1994
In 1994 I had a stand at the Erolife fair together with Jan Bouma. He presented his statue ‘The King’ and I showed the ‘Vingerbad’.
De Jas / the Coat 1995
In 1995 Jan Bouma and I had another stand at the Erolife fair. This time Jan presented his statue ‘the Soldier’ and I ‘the Coat’. The Coat was not only presented as a statue but was worn by a performer who walked all over the grounds of the fair showing ‘his goods’ to all who were willing and un-willing.
The Coat has also been performed at two other erotic fairs in Belgium.
Jongeheerzepen / Willie soaps 1996-‘97
In 1996 the Jongeheerzepen project was presented for the first time at Erolife’96 taking place at the Jaarbeurs, Utrecht.
In 1997 the Jongeheerzepen had a presentation in Galerie Liter, Boekhorststraat, Den Haag.
Jongeheerzepen at Erolife’96
December 1996, Jaarbeurs, Utrecht
The Jongeheerzepen had a large stand that showed the soaps and formed the base for a continuously running performance during the 4 day of the fair.
The Jongeheer-promotion team consisted of:
Dr. Rebecca Rosenboom, Professor Swartjes, his (or her) assistant & the three promo girls.
The promo girls asked the Erolife visitors to fill in an inquiry form. The results of this enquiry were showed a large ‘score-board’ that Dr. Rosenboom kept updated. She meant to find out what the most popular soap was. Unfortunately for her was that the promo girls were very biased and tried their utmost best to persuade people to vote for their favourite. Professor Swartjes (who re-invented the soaps) thought the therapeutic side of the soaps utter nonsense, but, the soap itself was naturally the very best of the best.
In 1997 Jongeheerzepen had a small selling stand without the performance.
Jongeheerzepen at Galerie Liter
May1997, at Galerie liter, Boekhorststraat, Den haag
The Jongeheer promo team also opened the exhibition at Galerie Liter.
After the opening the large shop window of the gallery functioned as a giant viewing box. From the street one could see inside the Jongeheer stand with the promo team in the form of life sized painted cardboard dolls.
The sex-shop on the other side of the street advertised the Jongeheer soaps in its window and you could go and watch the Jongeheer commercials in one of their porn movie booths.
You can watch the 3 commercials here:
The Nursery – 2008.
An installation for the performance ‘Terra Extremitas’ by the company Foolish People.
At the invitation of the English company Foolish People I made a nursery in a closed off room. I used black duck tape to draw on the walls and floor with. There were beds lined out of the children that used to be there. At the heads of their bed spaces were their names and a drawing of a worn-out thrown away doll. On top of their bed spaces sat their abandoned teddy bear who was now alive (as was fitting in the story of the performance) and had taken over the most prominent characteristics of the child who disappeared.
The impression was made by Petra van der Meijden.