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09.06.2010 — 28.06.2010Lotte Geeven
09.06.2010 — 28.06.2010
1. Can you describe your work in five keywords?
I travel, take notes and try to tell a story in an abstract manner. My art practice consisting of pictures, drawings and installations and is a combination of anchor points of the sites I have visited.
2. How does an idea come to mind?
Travelling is very important. I’m mainly interested in metropolitan areas where I systematically walk around, take notes and look for interesting details. Whenever I visit a place for a longer period of time, my worlds starts to blend with the reality of that particular location. In a way my art practice can be seen as a double portrait.
3. How do you make decisions?
I work on a daily basis, take time to reflect and at a certain moment every piece of work organically reaches its final destination. And then its finished.
4. What do you hope to achieve, communicate or gain with your work?
I try to provide a different way of experiencing situations, which gives the viewer a sense of alienation or overpowering. Decisions in size and shape are closely connected to the feeling and nature of the encounter between the work of art and its audience.
5. Which work of art has made an impression on you?
Works with an unsolvable mystery and a message slowly invading and /continually lingering in your mind. For example; The Sun went up my hole, it nearly touched my soul by Marijn de Kreij.
6. Should an artist take a stand? And if so, what’s your position?
As an artist you should try to stay true to your own way of looking, thinking and creating. And thus try to develop as an artist.
7. Do politics or war play a role in your work?
No.
8. How did you experience the bunker?
As a huge challenge but also very oppressive. In time the bunker and its history become more apparent, and start to communicate with the work of art. This definitely adds to the work.
9. To what extent do you take the viewer into account?
During the process of making, I try not to think about the viewer, because it tends to distract and limit me. But when exhibiting I do take the role of the viewer into account to be sure the work communicates as it should.
10. Where would you like your work to be shown in the future?
I would like to show my work internationally in different locations to see how it works in other cultures and to see how it works and will be interpreted in other cultures.
I travel, take notes and try to tell a story in an abstract manner. My art practice consisting of pictures, drawings and installations and is a combination of anchor points of the sites I have visited.
2. How does an idea come to mind?
Travelling is very important. I’m mainly interested in metropolitan areas where I systematically walk around, take notes and look for interesting details. Whenever I visit a place for a longer period of time, my worlds starts to blend with the reality of that particular location. In a way my art practice can be seen as a double portrait.
3. How do you make decisions?
I work on a daily basis, take time to reflect and at a certain moment every piece of work organically reaches its final destination. And then its finished.
4. What do you hope to achieve, communicate or gain with your work?
I try to provide a different way of experiencing situations, which gives the viewer a sense of alienation or overpowering. Decisions in size and shape are closely connected to the feeling and nature of the encounter between the work of art and its audience.
5. Which work of art has made an impression on you?
Works with an unsolvable mystery and a message slowly invading and /continually lingering in your mind. For example; The Sun went up my hole, it nearly touched my soul by Marijn de Kreij.
6. Should an artist take a stand? And if so, what’s your position?
As an artist you should try to stay true to your own way of looking, thinking and creating. And thus try to develop as an artist.
7. Do politics or war play a role in your work?
No.
8. How did you experience the bunker?
As a huge challenge but also very oppressive. In time the bunker and its history become more apparent, and start to communicate with the work of art. This definitely adds to the work.
9. To what extent do you take the viewer into account?
During the process of making, I try not to think about the viewer, because it tends to distract and limit me. But when exhibiting I do take the role of the viewer into account to be sure the work communicates as it should.
10. Where would you like your work to be shown in the future?
I would like to show my work internationally in different locations to see how it works in other cultures and to see how it works and will be interpreted in other cultures.