masterly the hague | serie immortalized
Concept Immortalized
For Masterly the Hague, I designed this series of ceramic ornaments. These ceramic objects are part of the Immortalized series. In that series, the life cycle is immortalized. Real vegetation, such as flowers and leaves, is incorporated into the objects and preserved in liquid clay, then petrified. In the same material from which the vegetation once emerged, it is buried once again. In this way, the circle of life is completed— like Jan Weenix has immortalized in his still life paintings with oil paint. Not in a heavy or gloomy way, but as a tribute to the beauty of nature.
historical painting as a muse
In the monumental buildings of Hoogsteder & Hoogsteder, opposite the Hofvijver in The Hague, old and new masters meet in 25 style rooms. Just like the haute couture of Viktor & Rolf combined with a historic portrait of Frederick Henry, Prince of Orange, painted by Michiel van Mierevelt.
Contemporary artists drew inspiration from a historic painting and then created entirely new works during Masterly the Hague.
translation concept in material
In this case, the material clay is fragile. Even after firing, the material remains exceptionally delicate. This creates a contradiction with the hardness of ceramics used for functional objects. When clay is fired for practical purposes (such as dinnerware), it transforms into an incredibly hard material, much like the pottery from ancient times that still survives today.
translation in form
The basic form is simple—a circular shape representing the life cycle of the vegetation used, which blooms anew each year only to wither and die, symbolizing all the life cycles on Earth.
connection Jan Weenix
In this still life, withering flowers and leaves are depicted. The dying nature is beautifully captured in oil paint. It is a highly aesthetic piece where both flora and fauna are honored. In my work, nature is also immortalized, though not in oil paint, but in clay.
virgin white
The decision was made to exclude color. Form takes center stage, as color would distract from the shape. In this work, it is the form and the interplay of light and shadow that guide the expression, and they are more pronounced without the use of color.
