Mhoi was here, 2019

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Video still, Destination Unknown, Weert

Traces of kids drawings and a yellow smudged graffiti on the inside walls of the Sint Martinus School make me look at the similarities within their approach. Stealing sweets from the concierge or breaking into the playground to climb up the roof of the bike shed to look at it from a different view point. The toilet spaces in the Sint Martinus school draw me back to when I was so small, that when standing up I could see my face in those mirrors that now come up to my umbilicus.

Animal stickers and names on coatracks in the hallway go together with the memory of just learning to tie my own shoelace. It is difficult to describe how to do something that is now such an instinct. Left below right, make a bow in both hands and pull the bow under the left one.

 When you turn right from here there is a pet shop, with birds in cages and toys for the birds. They remind me of the making of jewellery and the way we adorn our bodies. They make me wonder about the interior of the pets owner.  

When you go left from here you will soon find the pizzeria ‘Sardinia’ with a classical pizzeria interior; fake fresco’s and copy’s of statues; boys waiting in the kitchen for the order note to pop out of the machine. Where in the kitchen the dough is carefully being touched and ritualistically covered while the pizza shovel is slowly being turned like a paper fan.

 

Lost in Depiction / Part Two, 2019,

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Eva Hoonhout, Plaster, Paint, Lily Lanfermeijer, Ceramics, _Souterrain 14 Amsterdam

 

Curated by Eva Hoonhout.

As in ‘Lost in Depiction/ part one’, artists Eva Hoonhout, Lily Lanfermeijer, Caz Egelie and Dan Adlešič have worked together to transform a collection of sculptural works into a site specific Gesamt installation. _Souterrain14 is an artist-run studio and project space located on the basement floor, designed as canal house style commodity storage. The double context of the space, currently being an artist studio and originally having been storage, forms the context for a collective installation where artworks actively archive, incorporate and occlude each other.

As part of Lost in Depiction / Part Two Lily Lanfermeijer (1990/NL) continued her research into the combination of ceramics with rope. There are many forms of braiding like the braiding of bread or the braiding of hair and scouts’ rope-knotting. Just like other kinds of folk crafts, braiding is encoded, imbued with certain hidden meanings, often spiritual. For Lost in Depiction / part two Lily shifted her focus to basket and rope making. Her interest lies in the way in which traditional ways of handling materials can be mixed, for example how techniques used for rope making can be used for ceramics, and how different types of rope weaving can be combined into one line. By this Lanfermeijer created a flexible sculpture that can form a multiple of shapes, depending on the context it is presented in.

Lost in Depiction / Part Two is supported by Amsterdams Fonds voor de Kunst and Fotopub, Slovenia

I laughed "To hell with them" I said, Act Table / 4, 2019

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Installation view, Katrein Breukers, Lily Lanfermeijer

 

A collaboration between Katrein Breukers and Lily Lanfermeijer.

I drove home. I had my jacket off and my sleeves rolled up, I wore a pair of faded jeans. I parked my car and found a stack of flyers lying deserted in the street, still wrapped in plastic. When I got home I opened my windows and waited for something to happen. I waited a long time.

I went into the studio, a garden house, stationed myself behind the desk and poured myself a cup of coffee. I placed it on the board of a game we played yesterday. I picked the cup up again and placed it on the novel ‘Attar of Roses’ before I took a sip. Two circled ochre brown stains were left behind.  I looked at the chair, some of the leather had been scarred. Did I do that?

It was nine o’clock when I finally got the call, I picked up, with gold leaf attached to my hand. I laughed. “To hell with them” I said. I walked out, leaving the door open.

For the exhibition in the kitchen, Katrein and Lily started a new collaboration. Inspired by the detective game Cluedo and the classic detective novel, they became interested in treating the exhibition space as a place for remains or traces of previous events. Can we find hidden or forgotten actions within the confines of our own studio?

Table act 5 2018,

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Wood, Ceramics, Rope, pigmented cotton, Fotopub, Novo Mesto, Photo: Eva Hoonhout

‘LOST IN DEPICTION / part one and two’

Curated by: Eva Hoonhout

Group show with : Caz Egelie, Lily Lanfermeijer, Dan Adlesic and Eva Hoonhout

For the exhibition at Fotopub Lanfermeijer created an installation consisting of wooden tabletops, ceramics and fresco paintings on jute. Homemade egg tempera paint, often applied with delicate brushes, is applied on the plaster shapes with a large roller that would normally be used to paint the walls of contemporary interiors. The works are inspired by a broad range of fields ranging from public murals, tableware found in kitchen cupboards to the images found on printed t-shirts. One of the characteristics of mural painting, outdoor advertisements or even printed t-shirts is that the architectural elements of a given body or space are incorporated into it’s reading and vice versa, either resulting in harmonious or conflicting combinations. Lanfermeijer describes these combinations as ‘morphing experiences’ and she often deploys these same processes of absorption in the presentation of her works. There is no hierarchy among her objects; furniture, pedestal or artwork are all equally important in her installations.

Lily & Mila Lanfermeijer, Faux Syrup Angel, 2018,

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Exhibition View, Punt WG

Lily and Mila Lanfermeijer are interested in the intimate act of exchange that is an inherent part in the use of applied techniques. Next to their individual practices they have been collaborating on several projects since 2014. Their practices overlap in dealing with questions regarding the relationship between the usable and the autonomous object and ideas circling around (shared) authorship.

For Punt WG they’ve created an installation consisting of several textile works, pieces of furniture and sculptural works that draw inspiration from the concept of modern folklore. Different processes of transmission, through material, verbal or customary form were the point of departure.

In “The Craftsmen” Richard Sennet writes that when slamming a nail with a hammer, the hammer becomes an extension of the craftsman’s mind, his thoughts between the hammer itself and the nail it will make contact with. Similarly, when collaborating and in the process of communicating what was previously in the makers mind, a space is created that is not merely one individuals thinking but somewhere in-between two minds.

For this exhibition a new series of ‘layered paintings’ was created through the use of kalamkari, a precise drawing technique using a bamboo stick that is practiced in India, often solely by men. While researching this craft that blurs the boundaries between pattern making and painting Mila became interested in the use of perspective and the expression of fabric within the tradition of painting and it’s connection to wealth and skill in different geological, historical or religious contexts. Hand drawn copies of traditional fabrics are combined with drawings based on images from hobby books, vintage fashion magazines and commercial advertisement. A lot of the imagery circles around personal adornment, which has historically been one of the main outlets of female artistic expression. Symbols are abstracted into patterns to create new compositions. Lily’s braided pieces that draw inspiration from various fields, ranging from fashion, to religion, bakery and rope knotting, are combined into clay ornaments.

A table can have many functions depending on context, its form and the environment it exists in.
It can be a border or a shared object depending on the relationship with its users. In that sense the table can work as an arena for things to take place. By using precise measurements and dimensions Lily has created tabletops that can be connected into different shapes and adjusted to suit several situations or functions. The tops act as sculptures in the room, waiting to be activated through their use. The shapes and uses vary, from allowing one person to sit across from two at a distance, to a conference shape with a central focus point, to a lower form where the user must kneel down. During the exhibition the table tops and table legs will change formation; in this way shifting the perspective on the tables through the activation or deactivation of the tabletops.

The slight and subtle changes in form find their origin in pottery, and refer to the transformation of one shape into the next. The medative variations in the shape of the table legs are closely related
to the making of vases on the pottery wheel. Through the use of a chisel, pieces of wood have been removed to create similar forms, only now they are not built up from the wet clay but excavated out of the soft pine.

This exhibition was generously supported by het Amsterdamse Fonds voor de Kunst.

Untitled (We stare series) 2017,

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New Town, Metro Station Noord, Amsterdam installation View

 In December 2016, I travelled to Andhra Pradesh, India. I collaborated with and learned from master craftsmen Niranjan Jonnalagadda and Pitchuka Srinivas to create a new 3-dimensional work.

The work ‘We stare at the finely chiseled Latin letters, drying, on a Telugu paper’ is the result of a research project based on hand-blockprinting techniques and the mutual textile heritage between India and the Netherlands. The work focuses on the fabric trade between the two countries during the VOC period. In the Netherlands these fabrics were seen as exotic and subsequently used and reproduced in different techniques like embroidery in Dutch traditional attire. During the 17th century instructions for the production of fabrics and patterns were sent from Holland to India.

How were original patterns used, altered and recreated? What is the role of authorship within the context of cultural heritage? And how can we define autonomy in relation to craftsmanship and artistic exchange?

Travel notes and observations were the starting point for this installation. Original patterns found in the printers’ workshops were adjusted and remixed with western influences. The hand printed fabrics were then used to create parasols, a product with close ties to tourism, and oftentimes used as an outlet for commercial messages and symbols.

To this day works and products that were produced during the Dutch Golden Age, are still some of the most important tourist attractions in the Netherlands and part of the countries national identity.

Untitled (Staddle Stone Series) 2016,

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Ceramics, Glass, Plastic, 100x66 cm

In this project I was using elements of cinema production spaces like the materiality of props and the use of colors to make sculptures that refer to statuary in carefully constructed garden spaces.

There are different ways to look at parks and different opinions on what parks could look like.

Sometimes there are benches where people read their newspaper, where you can find artificial pools of water and banisters with a bark relief in them, where everything is very well maintained and quite formal. Other times parks are more wild with bushes and grass where people lay down on.

As with garden spaces, the space of commercials also play with a manipulated natural appearance. The breaking sound of a dark magnum ice-cream between the lips is carefully constructed and mixed. Although the space of the movie is not a place we can enter nor sit in, but a projection of ourselves into it.

Upholstered Graphics 2015,

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A place beyond desire, Sandberg Instituut Amsterdam, Wood, Ink on Plaster, Installation View

‘Upholstered Graphics’ derived from the possibility of a shape to host another space, how a shape can refer to another space or represent another place.

A good example for this can be found in cathedrals and the commissioned fresco paintings inside them.

Sometimes the interior has such specific architectural features that it frames the site-specific artwork in a peculiar way.

While being both invisible and present at the same time, another narrative is conveyed when these two elements coalesce.

Reclining Nude (IIII) 2015

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Clay, Cotten Cord, Leather, Metal, Detail

The Reclining Nude series is made in collaboration with Mila Lanfermeijer. Techniques of knotting and basket making are used to create hanging sculptures that refer to the home and the body.

Macrame gained immense popularity during the 1970’s as a means to make wall hangings, articles of clothing and other furnishings. Inspired by references from this era the Reclining Nudes series explores the possibility of macramé to hold forms. Introduced into England at the court of Mary II in the late 17th century. The queen herself taught the art of macramé to her ladies-in-waiting. Sparked by the idea of ‘a lady in waiting’ we became interested in the depiction of the hanging and resting female body in painting as well as the comparison of the female body to the household form of the vase.

To create the sculptures a temporary basket was created from rope, by pressing the clay against this surface baskets or vase like forms are made. Before the clay has completely dried the rope is pulled out, making the wet form collapse.

For the exhibitions AIR and Object Rotterdam the Reclining Nudes series was shown in combination with the work Sleeping with Oda.

A resting clay form is presented on a hand painted blanket. The blanket is part of a collection of blankets that are inspired by the ‘quilts of gee’s bend’. The composition of these quilts is more often associated with the inventiveness and power of the leading 20th-century abstract painters than with textile-making.

Untitled 2014,

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Graduationshow, Rietveld Academie Amsterdam, Installation View

During my last year at the Gerrit Rietveld Academy I became interested in realism in semiotics. Realism is semiotically seen as a pragmatical relationship between a sign and the reverent of the text. The realistic effect is the fading difference between a sign (which is connected to a meaning) and the reverent (which is made up by a text). The distance between a reality and its reverent made up out of signs is at the same time invisible or not there.

I’m interested in how shapes evolve from basic principles. These principles are bound up with the types of material and the way they are worked. The hand, the machine and the mold are three basic tools for generating shape.

How can a shape cut-out of a wooden plate become an integral part of the material it was cut-out of? By creating a negative space inside the material, the opportunity for the material to represent or become a scale model for an absent shape opens up.

In ceramics the coil building technique is one of the oldest ways to shape clay, working in an upward movement, from the bottom to the top.  When I think of ceramics I mostly think of pots, table ware and vases. The material and its signification, the material as embodiment of a symbolic archetype is something I tried to work and play with.