Could you tell us what drew you towards collection 1.0052 and how you started to navigate the early stages of your research?
I started with a selection of five collections. I was looking for interesting countries, time periods, maps or photographs. As an artist, you need something that ignites your imagination. Photographs are the easiest way to do this, but for me this happened when I started reading in the collection 1.0052. The collection starts with an explanation of the origin of the subject. He is described as a ‘farmer’s son’, and because we share the same origin, this is where it all started for me. My imagination took over and I began picturing how a farm at that time looked. Afterwards I started doing research on farming traditions.
Have you worked with archival material before and, if so, could you comment on the importance of responding to historical records within your practice?
In my work, I focus on our environment and how we shape and relate to it. History plays an important role in this. The visible or invisible histories of the landscape that surrounds us have a lot of influence on our lives. I think this is underestimated. I aim to show how these histories manifest themselves in our daily lives. I frequently use archival material like maps, old photographs, oral histories and found objects. The materiality of them leads to all kinds of connotations. I want to make use of these, and by combining them with my photographs or collages, a story starts to unfold.
Artefact is a miniature archive in itself. Could you explain the selection process of the objects and your role as both a photographer and curator for the collection?
Yes, during the development of the project I realised I was actually making an archive of an unknown tradition. As my research on farming traditions proceeded, I investigated my family’s farm to look for self-fabricated objects. I started to document them in a photo studio set-up on site. In the final selection, I was looking for two components: abstraction and sculptural characteristics. The first component wasn’t that hard to find, since the purpose of most objects remains unclear. The second component was much harder. A range of materials and purposes needed to be represented. And, of course, I considered the aesthetic value as well. I was looking for a range of tonal shades which give the object its plasticity and tactility.
In your blog post, Artefact #1: A New Found Tradition, you discuss the ‘tension’ of an object. You also created an object for Artefact. Have you worked sculpturally before?
No, this was my first time, although it was a logical development. I started using found objects during my last project. Photographs succeed very well in communicating a certain feeling or message visually, but an object triggers a wider range of senses. Since an environment also contains multiple triggers, using objects was a logical step for me. From here the step to making objects myself was not far away. In the beginning, I considered using one of the original objects, but I wanted to add an extra layer to its reality. By making a ceramic replica of one of the objects, I emphasised the sculptural characteristics.
How have the creation of Artefact and your research in 1.0052 affected your understanding of your own family history?
The whole project has been very clarifying for me. I notice many characteristics of my family that have been passed down to me.
Growing up in a family of farmers meant that craftsmanship came naturally. Everyone around me taught me to invent and make things myself. This meant all leftover materials were saved, because ‘it might be useful later’. While writing this I realised I also started ‘hoarding’ at my atelier. I have a lot of trouble with throwing things away, because I always think they might be useful. I guess even my career choice makes more sense now.
Are there any strategies or themes developed during the Saudade project that you are keen to take forward into future works?
Definitely, it has meant a lot for the development of my work. Especially the ceramic object that I made, which opened up my perspective on media. I want to keep working with ceramics. This was also one of the first conceptual artworks I made with such a set framework. When I accepted the invitation to participate I was quite nervous about this. By connecting it to my own family history, I was able to put my heart and soul into it. I am also continuing to work with archives and agricultural traditions. I learned that working in an archive is a very good way to help with concept development. The atmosphere in an archive is so serene and quiet: I would recommend it to everyone!