Mhoi was here, 2019
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Paper copy prints, 201x106cm
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.
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.
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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.