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Tiny art gallery at Swab art Fair Bcn
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A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.
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A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.
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A collection of kites made off fabrics printed during my residency at Frans Masereel centrum in Belgium.
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Installation shot of presentation at Stroom den Haag as part of their program Positions.
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Installation shot of presentation at Stroom den Haag as part of their program Positions.
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Food performance/installation together with Lena Longefay at Kunstinstituut Melly.
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Still form short handrwan animation
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Group show with Daisy Madden Wells & Biba Cole at See Lab Den Haag
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Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.
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Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.
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Trying to piece together myself by looking at old work, I found a pile of papers with the traces of the process of old drawings; papers where I had tried and tested colour pencils and markers in preparation, or gone over the page unto with the motion of my hand. I had kept them out of a tendency to collect most anything, even mistakes. They were the leftovers of more figurative still life drawings that had attempted to look beyond the meaning of the objects being drawn. They were the leftovers of my attempts at allowing the objects to acquire a logic of their own. I wasn’t sure if the intended drawings had done so, but these little papers and the traces they contained seemed to be living in a parallel world. So I began to draw them and to care for these marginal marks. Centering them and giving them space has become a practice of mapping and thinking through current uncertainties and unknowns.
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Graduation publication, led by Delphine Bedel following Lucy Lippard’s 1969 travelling exhibition Numbers. 15 cards (10 x 15 cm each) that if assembled together would make up the following drawing.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.
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Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.
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Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.
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Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.
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Part two of Starchy knowledge. An installation comprised of multidimensional drawings. Arriving at it through a process of translation and re-iteration of personal and found imagery, materialities, and storytellings. Taking the non existent myth of the silverfish as a starting point. A creature so ancient, yet so worthless that it has no human given story. Living between crevices, munching away at our starchy knowledge. Concerned with ideas of coexistence with non humanness, and non verbal communication with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Opening up to multitudinous ways of knowing. Graduating project of Master Artistic research.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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installations shots of part one of Starchy knowledge, Graduating project of Master Artistic research.
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Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.
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Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.
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Installation view. Piece made for the occasion of MAR group show "I was mostly delighted, but yes, also a little bit afraid." at Quartair.
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A large scale drawing concerning the usually long path that connects the size of your antenna to some selected words of unspecified direction, to his intentions being squashed by a toe to the east of the sea, to a sneeze from last week, to being impeccably still, to a perfectly balanced sprouting potato growing old, growing mouldy, growing strong, growing lonely. Shown as part of group exhibition The ongoing conversation #6 at 1646
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Shown as part of group exhibition The ongoing conversation #6 at 1646
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Shown as part of group exhibition The ongoing conversation #6 at 1646
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Part of a group show investigating weeds, in particular Japanese Knotweed, a colonial plant - once a botanical jewel, now illegal to posses
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Colour pencil on parchment paper and Japanese paper, blue pigment on bricks, pencil shavings, pencils, sewing pins, various found plastics, playdo, four, coloured string, green ristler roaches, coloured tape
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Colour pencil on parchment paper and Japanese paper, blue pigment on bricks, pencil shavings, pencils, sewing pins, various found plastics, playdo, four, coloured string, green ristler roaches, coloured tape
Websites
Social media
Maakt deel uit van Kunstenaarsinitiatief / Collectief / Broedplaats
Nice Flaps
Curriculum vitae
Opleidingen
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2018 - 2020Master Artistic Research Den Haag, Koninklijke Academie van Beeldende Kunsten Diploma behaald
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2011 - 2014Bachelors of Fine Arts: Drawing Camberwell College of Arts (UAL) London, UK Diploma behaald
tentoonstellingen
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2024Greasing The Planets Jiuba Art Space Amsterdam, Nederland Groep
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2024Tiny gallery show Swab Art fair Barcelona, Spanje Groep
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2024Fabas spring 1646 Duo
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2023A space is a space is a space Lab 23 The Hague, Nederland Duo show with Rotterdam based artist Maria José Crespo Duo
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2023Suckle and Squeeze No Man's Art Gallery Amsterdam, Nederland Groep
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2023Drink me not potion Extrapool Nijmegen, Nederland Groep
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2023Hiccups Quartair The Hague, Nederland Groep
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2022Bermuda Open II The Hague, Nederland Presentation for Open studios The Hague Groep
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2022Positions -The Myth of the Silverfish pt.1 Stroom Den Haag The Hague, Nederland Solo
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2021Drawing Appreciation show ...ism The Hague, Nederland Group show organised by collective Hgtomi Rosa centered around drawing. Groep
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2021Recent Dreams Raam Maar Rotterdam, Nederland Solo
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2021Geel MestLab Arnhem, Nederland Groep
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2021Altered states Kunst instituut melly Rotterdam, Nederland Duo
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2021I'm not where I'm supposed to be See Lab Den Haag, Nederland Artists Biba Cole, Alejandra López and Daisy Madden-Wells let you in on a narrative-based show of negligible plot. At See Lab project space they will allow their practices to overlap and seep into each other, both inhabiting, and guiding the viewer through the space via drawing, sculpture, soundtrack and moving image. The central theme of ‘sneaking’ will loom large, exacerbated by the atmosphere of precarity that currently surrounds us. What it means to sneak, to be a sneak — to be present, absent, or perhaps somewhere in between. They ask: when you live and move on the cusp of remonstration, what does it mean to make your way through a space? Is creeping/sneaking/sauntering a choice, or is it foisted upon you by those who would make you unwelcome? Am I creeping, or do you just not want me here? Presenting... a wandering path for creeps and saunterers, exploring the uncanniness of proximity; the closer you get, the more nonsensical things become. I’m not where I’m supposed to be. Groep
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2020A Simple Fizz Quartair The Hague, Nederland Groep
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2020The Tiny Art Gallery The Hague, Nederland Groep
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2020MAR Gradshow KABK The Hague, Nederland Groep
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2019The ongoing conversation #6 1646, Experimental art Space The Hague, Nederland Groep
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2018I was mostly delighted, but yes, also a little bit afraid. Quartair The Hague, Nederland Groep
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2018A History of Drawing Camberwell Space London, Verenigd Koninkrijk Groep
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2017Helen wants to be an ancient silver pony The Green Room Heredia, Costa Rica Solo
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2017Means - Get - Tiny Ladette Space London, Verenigd Koninkrijk Groep
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2016Lie - Tend - Grand Ladette Space London, Verenigd Koninkrijk Groep
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2016An Opening 77 Pellatt Road London, Verenigd Koninkrijk Duo
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2015Pasen y Vean Arte y Desarrollo Madrid, Spanje Duo
Internationale uitwisselingen / Artist-in-residencies
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2023Kasterlee, België A production based one month residency in a fully equipped printmaking studio. masereel.art/
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2023Eindhoven, Nederland MAKE: to riso or not one week residency organised by Wobby Club. wobby.club/to-riso-or-not-2023/
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2015
opdrachten
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2015Ethnological Museum Pusol Elche, Spain, Spanje Mural Uitgevoerd
Prijzen en stipendia
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2025Maakers Regeling Den Haag Gemeente The Hague, Nederland Grant to spend a year working at Grafische werkplaats learning and deepening screen printing technique knowledge and developing a project to be shown at the end period.
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2023Kunst Project mondriaan fonds The Hague, Nederland Research Grant
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2021Stroom pro invest (sinds 2004) Stroom, Den Haag The Hague, Nederland Development Grant culminating in a series of studio visits from local & international professionals.
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2021Stroom Pro Ondezoek (sinds 2004) Stroom, Den Haag The Hague, Nederland Research grant towards the project The Myth of the Silverfish
artistieke nevenactiviteiten
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2018 - --Nice Flaps Loopt nog
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2015 - 2018Nunhead Drawing Group