ONZIJN is a collection of art that includes photos, drawings, and 3-dimensional and digital works, all created in a series of 11. In the Netherlands, eleven is known as the "crazy number" because it only divides by itself and is positioned between the perfect number 10 and the sacred number 12. Eleven is the odd one out, representing what is different and imperfect. This concept aligns with what is called the "elusive beauty of imperfection" in Japan.It is at the border between beautiful and ugly, within the frayed edges, that images become fascinating. Patterns in nature are the primary source of inspiration for my work. By capturing and studying these patterns, the work emerges in an organic flow, much like rivers winding through the landscape. Ink flows in irregular lines over tissue paper and fragile eggshells, expressing the vulnerability and resilience of both humans and nature.
Patterns in nature are beautiful and intriguing. I photographed them in various places, from beaches to forests and cities, and discovered recurring shapes in these patterns in different locations, even in the tissues of our bodies! Then, I started creating personal work in a way that patterns in nature emerge, letting the ink flow over the paper just like water meanders through a landscape, in a natural flow.
Working Method
No fixed idea or image is created in advance. The tissue paper is crumpled into a ball and then unfolded, creating an unpredictable canvas. Ink flows in irregular lines over the paper, finding its way across the sheet in patterns similar to those seen in nature. The result works on the boundary of beautiful and ugly, the frayed edges; that's where images become interesting and is what they call the elusive beauty of imperfection in Japan: Wabi Sabi. This way of working allows space for what is new and different, what deviates. Through my work, I try to comprehend and understand patterns. Patterns contain millions of years of knowledge on how to survive with constantly changing conditions. I learn from these patterns by photographing, drawing, and painting them.
What do I learn from patterns?
It is striking that patterns are interconnected; they often work together. They adapt and align with each other. Patterns resemble each other but, are never the same. There is room to be flexible and to adjust to specific circumstances that arise. Tailored solutions. A pattern often has a clear basic structure with 'free space' around it. That free space is the area where art and science thrive best because you are looking for new things and solutions in unknown territory or different ways to view the familiar. I noticed that I framed my work too tightly to maintain control, causing that 'free space' to disappear. The free space is precisely important for gaining new insights and creating new work. To play, experiment, be creative, flexible, unpredictable, and fluid, to move along and connect with the natural flow.
Natural boundaries are irregular, never straight. A drop of ink on the sheet always chooses the most logical route. Patterns adapt to circumstances and work together. Nature on balance shows enormous diversity. Rich biodiversity stands for optimally healthy ecosystems; diversity stands for wealth and is of added value. Teams that collaborate will need to be diverse to achieve optimal results for our society, but especially for restoring and sustaining flourishing ecosystems. With my work, I want to contribute to understanding the language of nature better and to find ways to connect and interact with nature in symbiosis.
I grew up in a small village in the
seventies, the oldest of three daughters. I loved the freedom of nature and spent my days playing with
neighbourhood kids. While our home was open and carefree, the village
had a strong religious presence, with many restrictions. I connected
more with the outsiders and was known as 'the creative' one at home. After
high school, I became the first in my family to attend the Art Academy.
At
seventeen, I was accepted into the Design Academy Eindhoven, where I
thrived in painting, drawing, and sculpting. In my third year, I
apprenticed in Amsterdam, The Hague, and London. Returning to Eindhoven,
I specialized in graphic design, packaging, and exhibition design.
After
graduating, I worked as a freelance graphic designer in Rotterdam,
focusing on small art projects and magazine designs. Wanting to expand
my experience, I became Art Director for a car magazine at ANWB in The
Hague. I redesigned the magazine and managed a team of editors and photographers.
After
three years at ANWB, architect Wessel de Jonge approached me to design a
book for his Van Nelle Factory project in Rotterdam. The factory, with
its geometric and abstract shapes, is my favourite building in the
Netherlands. The project was a success, and the Van Nelle Design Factory
is now a UNESCO Heritage site.
After this project started
to work as a senior designer for several clients on a project basis:
ANWB / Van Nelle Factory Rotterdam / Wessel de Jonge Architects /
Docomomo International / Decorum / Textilia / Jap Sam Books / CNV /
Freefloat / University Leiden / Earproof / City of Rotterdam / Fuel
Communication / SKVR / Beefoundation / EEF / BuytenVitaal.
In
2019, I was diagnosed with a hereditary disease that required me to
spend half a year in the hospital. During this time, I was introduced to
creative therapy, which opened my eyes to a completely new approach to
creativity. I learned that the process and joy of creating are more
important than striving to replicate the exact image in your mind. This
experience taught me to appreciate the beauty in my work rather than
being overly critical. Drawing and painting in this way became
enjoyable, liberating, and even healing for me. This journey planted the
seed for the work I began creating under the name ONZIJN.
