My artistic education began without formal training, in Ecuador, surrounded by generous colleagues with whom we founded a collective; through time I’ve come to understand that this self-organized collective experience was my (our) own academy. We learned by trying, making, and ruining good ideas (and often spending too much time on bad ones). Later on, I was given the opportunity to pursue and obtain an MFA in Sculpture at VCU—Virginia Commonwealth University, in the US. Since then have been an artist-in-residence at Jan van Eyck, NL; Delfina Foundation, UK; Fondazione Ratti, IT; Skowhegan, US; and Leiden Astronomical Observatory, NL. Already for a decade my work has been shaped by encounters with scientists, philosophers, music composers, anthropologists, and all types of experts, those who innovate and those who keep ancient traditions alive.
copyright image Centraal Museum Utrecht
A test to discover how you feel about a building, a prototype to write a letter to your grandmother or a voice-over that tells you how to move through a crowd unnoticed: different and often absurd ways to get a grip on reality. Roos Nieboer works with performance, text and textiles, and explores the question : can a general theory be found that we can apply to the world and how we should live in it?
By playing with the loose associations between word, image and meaning, she stimulates the imagination of the spectators.
Elina’s artistic practice results in temporary, procedural configurations where materials develop uncanny lives of their own. Working with beeswax, she explores animals as producers of material culture and responds through the precarity of the material on issues as climate change. The material’s intrinsic properties and its chance to react on its environment, are setting it free on themselves. Wax is solid, but it may be easily liquified. As temporary and malleable is today the state of animals -and specifically the bees- under extinction, as temporary is wax.
Floor Snels conducts research into social relationships within a certain community. She analyses hierarchies and responds with a form in which the individual and the collective are connected. The final form of her work conveys something about the social relationships within the situation in which it operates.
Who is the individual and what is the collective? What do we share and how do we interfere? How do we perceive and how aware are we of our surroundings? Melanie Maria believes that we are all longing for an emotional connection with the other. By physical performance, the use of public space and human gestures; she invites the spectator to come closer.
Melanie Maria works in and with the moment. It depends on the situation, location and bodies how a performance develops into a ‘result’. Every artwork is a research, where she is trying to get a grip on our desire to make a connection with each other and our surroundings.
Within my practise I consider art as a raw potential for objects, people and moments to supersede their initial manifestation & intent. With artworks fulfilling the role of tools for us to play with, a product of an active endeavor, possessing an inherent quality to facilitate opportunity. I strive to create conditions in which we enter an open state of mind susceptible to the intangible and fleeting experience that is art.