Text-plates, a continuation of a long-term artistic experiment with ceramics and sentences (for example in the work TRACK, 2019). During my residency at Sundaymorning@ekwc – from January till March 2021 – I have experimented with a variety of clays, conducted tests with CNC milling and a series of gimlets, composed a range of colored clays, and tried out new glaze formulas.


2018 & 2021

I SUPPORT YOU – YOU SUPPORT ME is a linguistic and performative gesture. It consists of a black and white knitted scarf with text on both sides. The scarf supports the person carrying it, while at the same time speaks to its surroundings. In multiple directions, relations appear between various entities that encounter each other.

For the exhibition SUPPORT SPACE, fifty scarves went on a journey. Sealed in self-made, sewn-shut envelopes, they were delivered by racing bike or by post to destinations in the Netherlands and beyond. Those who order a scarf become first receiver, then giver. Because you can’t reserve the scarf for yourself; the intention is to pass it onto someone you want to show support. The personal delivery of the scarf turns out to be valuable gesture. For many givers, the scarf is what leads them to reach out to the recipient – they usually haven’t seen each other in a while. In this way, the scarf is a way of experiencing togetherness in times of COVID-19.

As an artist I remain at a distance in this process, so as not to stand in the way of the scarf’s intimate handover. My request to the giver was to send me a photo of the handover; to document scarf’s journey. I have received many photos and personal stories from givers and receivers in all manner of unique locations. Reasons why people want to support the person in question and messages from givers, who have seen how much impact the gift has had on the receiver. Deep conversations therefore unfold between the giver and the receiver, as well as between the giver and the artist. For me this signifies a new, profound kind of relationship to those who experience my artworks. Normally, these people come to an exhibition. Now, the artwork comes, quite literally, to their post box, home and life.



The work OBSERVER took shape while I was fundamentally thinking about our way of perceiving and the difference between a standing and lying perception. OBSERVER consists of circular-shaped canvas rugs with a diameter of about eight meters and some small round cutouts in it that allows people to alternatively experience their surroundings. The work can be experienced in different ways. One can lay down on the rug, looking through one of its holes, and witness a small isolated part of the environment, then turn on their back and watch the vastness of the sky. Or one can walk past the enormous rug with people relaxing on it while taking a walk through the landscape and witness the aesthetic characteristics of its presence in that location. In both cases it is never only the designed material aspect of the work that matters, it is how this materiality interrelates with participants and the environment.



The work TRACK, created for Biennale Gelderland, consists of a series of ceramic objects that – like a long walking trail – include three streets in Arnhem and together form an installation. The objects are made of ceramics, have different shapes and sizes and a bright yellow color. On some of the objects a text is placed, giving instructions for a short mental or physical walk. For these instructions I was inspired by thought (conversations, literature, philosophy, scientific research) about plants, microorganisms and trees.

With TRACK I also wanted to stretch the idea of sculpture in public urban space, by involving private spaces and people. The ceramic objects are placed on walls and strips in front and behind residential buildings and shop windows. The route came about through contact with residents and shopkeepers, who placed an object behind their window, in the shop window or on the facade. Some residents and shopkeepers designed an object of ceramics themselves, for example the baker who made a breadboard and a resident who designed a house cat. These objects are all included in the walk. Within the context of TRACK, I indirectly raise the question of whether the presence of the artist, in a performative work that moreover has walking as its medium, is necessary or desirable.



PATHFINDER consists of ten silkscreen cards with walking instructions. The texts on the cards direct the walker’s senses in various ways – either by questioning or by guiding in a welcoming manner. The instructions evoke a brief action or movement of thought, which activates the senses and sets body and mind in motion. This leads to walks that offer new opportunities for relationships and connections between the visitor and her environment. The straightforward instructions function as poetic suggestions for alternative scenarios that can be put into practice. They invite the participant to act: to become active, anticipate, entwine, re-situate. By walking slightly differently, self-evidences are put into question and alternative possibilities explored. The walks “de-filter” looking and extend it with other ways of perception.

PATHFINDER is about sensory experiencing variations to obvious points of view and positions – and about the pleasure of discovery. The walking instructions are inspired by a reciprocal relation between text and site. Isolde’s renewed interest in her Indonesian family history made her rethink relations between body and place and the influence of language on perception.

Thanks to: Marlies van Hak (text editing), Jonathan Beaton (translation), Wouter Engelbart (support), Plaatsmaken (screen printing) & Zone2Source (curator)



TRAVELLER is a black cube-shaped object with a built-in mechanism that launches crumpled paper balls. The work, sometimes placed in the landscape and sometimes in a gallery, catapults crumpled paper balls that the viewer can catch and unfold. The props contain instructions for a brief action that activates the senses and sets body and mind in motion. Words are literally thrown into the air, just as sentences are spoken. Examples of instructions are: “WALK BACKWARDS UNTIL THE PLACE YOU ARE NOW IS OUT OF SIGHT.”; “MAKE A THROATY SOUND FOR TEN SECONDS. THEN LISTEN TO THE SPACE.”. The simple prompts act as poetic proposals for alternative scenarios that are brought to fruition in the moment, after a press of a red button. They invite the participant to act: activate, anticipate, catch, relocate.

With special thanks: Jos Scholtes



Every day we stroll along paths, bridges and roads. We stop in front of cars, we cross a zebra crossing: the road determines the rhythm. Overtaking, accelerating, reading, breathing. On foot we investigate our mental and physical experience of the spatial environment. To what extent does our spatial environment influence not only our movement, but also our thinking and feeling? VERSED PATHS explores our mental and embodied experience while walking. This walk is commissioned by Perdu Amsterdam.



Researcher and writer Marlies van Hak invited me to work as ‘critical friend’ on an educational program at the Radboud Honours Academy Nijmegen. This interdisciplinary Science meets Art Honourslab was coordinated by culture coordinator & lecturer Martijn Stevens. It consisted of a series of workshops and discussions at cultural venues. As ‘critical friends’ we reflected on embodied learning, educational tracks and entanglement of artistic and theoretical domains. The collaboration with Radboud University, participating students and Marlies van Hak gave new insights in collaborating, conversing and reflecting on educational processes. We proposed several interventions and curated a closing event through a performative exercise and discussion for the Honourslab community.



During THE DRIVE OF WALKING, a master class organised by Hubert van Eyck Academy Maastricht, I gained valuable insights about walking as artistic practice. I met fellow makers who also consider the meaning of walking for their artistic work. We experimented with ideas related to walking, produced a collaborative publication of walking scripts, and investigated the importance of the immediate experience.



Meeting landscapes from an artistic and philosophical perspective through on-site encounters is the main focus of Buro Ruimte Rondom. At a time when digitization becomes increasingly dominant, we feel it is relevant to offer alternative ways of meeting people and matter. We obviously relate to our environment, such as the city in which we live or the forest where we take walks. But how can we build sustainable and equally valuable connections? What we encounter on a small scale at a set moment, will possibly provide an entry to examining and reinventing larger contexts. By exploring local phenomena and personal testimonies, by being present and engaging in dialogue, by collectively experiencing apparently hidden structures, we seek to give voice to the human and non-human that cannot always speak for itself. That is, not in words.

Concept: Marlies van Hak & Isolde Venrooy
and amongst others Anne Vegter, Martin Drenthen, Esther Kokmeijer, Maïté Tjon A Hie, Deep End Film, Architecture Center Nijmegen, Jan Van Eyck Academy Maastricht, Radboud University Nijmegen



Cijfershop presents digits and their unique and diverse values through audio fragments, texts and wooden handmade numbers. 



The book Discovery of the Well-known guides the reader through several enlargements of my paintings from the serie Typology of an ideal landscape. From a detail to the whole and back. Just as it is required to observe the paintings closer and step away from them in order to experience the work.

Photography 4/5 inch slide film:
Antje Peters
Photography exhibitions:
Jan Adriaans
Margriet Kemper
Rob van Hoesel
The Eriskay Connection

The publication is available on The Eriskay Connection



Typology of an ideal landscape is a series 
of paintings, each 1.60 m wide and 1.20 m high. Paper cut-outs from travel brochures are affixed to canvas. These fragments are (partly) covered by monochrome acrylics, which connect them. Layers of paint conceal the original landscape images while at the same time creating a new landscape.



Nothing comes from nothing is a series of paintings that make manifest the physical experience of art works. Fragments on the canvasses, almost white or almost black, demand a moment of attention from the spectator. A quick glance does not bring the full range of tonalities to the fore. Only by looking attentively can one’s eyes distinguish the subtle differences in color and pattern.



The Archive of Absence tells of the phenomenon of present absence. It imagines the presence of that which is not there at first glance. An important aspect of the Archive of Absence are expeditions – walks through inside and outside spaces. On these expeditions, I discuss the presence of absence, looking at objects, plants and terminology. The presence of a camouflage net hanging over a shed leads to the discussion of stealth technologies that allow vehicles to move through space while being absent on radar. Throughout these (physical and mental) wanderings the emphasis is placed on sensory observations coupled with associations, stories and visual works.



Expedition North is a collective walk through a river landscape. During this walk, viewing tools were used to evoke interaction between the human body, the environment and fellow walkers.



My artistic approach is fueled through extensive interdisciplinary artistic multidisciplinary projects in which art&design, music and theatre students work together for a week at various locations in The Netherlands. The participants are accompanied by seven artists or designers.

Participating artists: Maarten Bel, Daan Couzijn, Maureen Ghazal, André Pielage, Jozee Brouwer, Joost Conijn, Melanie Corre, Designarbeid, Annegien van Doorn, Stijn van Dorpe, Dirk van Lieshout, Afra Eisma, Domenique Himmelsbach de Vries. Wessel Verrijt, Roland van Dierendonck, Boey Wang, Anaïs López, Jake Caleb, Wapke Feenstra, Maartje Folkeringa, Onsia Goemans, Willem de Haan, Paoletta Holst, Pavel van Houten, TINKEBELL, Michiel Huijben, Misja Immink, Eline Janssen, Esther Kokmeijer, Bastiaan Kwast, Lotte Landman, Charl Landvreugd, Tom Loois, Robert van Middendorp, Jack van Mildert, Wineke van Muiswinkel, PIPS:Lab, Peter Taylor, Tonio de Roover, Wouter Venema, Bart van de Woestijne, Mat Wijn.

METAMORFOSE (2021), PREPPEN (2020), BODYBUILDING (2019), PLANTEN (2018), DROPPING (2017), WALKING (2016), ITHAKA (2015). 



BUREAU BUURTREIZEN is a travel agency where children share stories, design maps and organize tours through their own neighborhood. Commissioned by De Nieuwe Veste, KOP and Stedelijk Museum Breda.



Visitors makes themselves comfortable on a bed. Emanating from the pillow underneath their head is a sound composition. As in Soothing Sounds for Baby (Raymond Scott), one is transported to a sleepy dreamworld. The intention of the installation is to seduce people with the sounds of money, which are used as a mantra or lullaby.



The work (RE)COVERED consists of a number of rows of medals covered in black felt. In this work, only the silhouettes of the medals remain visible. Specific details, such as embossing and color, are invisible. This gives the medals an iconic character. The awarding of a medal can be seen as the assignment of concentrated attention to a specific moment. Each of the medals in the work (RE)COVERED were once given to a person to commemorate a moment in his or her life. By concealing the medals the work becomes memorabilia.