Works


2018 Lightfield
Yellow flax and cotton paper, sewed
128 x 45 cm


2018 Whisper
Installation with asparagus peel paper and wind
210 x 60 cm


2018 Waves objects
Natural indigo and white flax paper
32 x 15 x 17 cm


2018 Sun
Yellow flax paper, bind with treads
26 x 26 x 5 cm


2017 Moon
Indigo flax and washi paper

The light that a full moon reflects at night is very special. Some people are very sensitive or this light. In Japan traditionally the paper plant fibre Kozo is even bleached in a stream of water with this moonlight.


2017 Waves
Indigo dyed flax paper

The waves of the sea at my hometown are the inspiration for this work. Also de indigo blue pigment reinforces the typically blue-grey color of this dutch seawater.


2017 Cell and Seed
Diptych asparagus artworks

Mostly two componants are required for a new life, seed and ovum. The Seed installation sand the Cell artwork form a diptych. Humanity is destroying slowly the nature of our planet. By using leftover plant fibres, as the asparagus peel, the sense of our nature becomes stronger.


2017 More Knots
Seven objects on the wall

The disentangling of a knot was used as a symbolism for unravelling a person’s own complexities. I was intrigued by the making of the first black knot, and since then, the ball started rolling. More Knots is now a series, and seven more objects have been created in different colours, materials, shapes, and sizes, to try to find the answer of this complexity. Photo’s Charlotte Visser.


2017 Movements

Three silk-screen prints on handmade silk and cotton paper. The ancient Taoist art of Tai Chi Chuan has several moves, such as “Parting the wild horse’s manes”, “Grasping the sparrow’s tail”, and “Waving hands like clouds”, that mostly consist of several basic, elemental moves: ball, spiral, and swing. I turned these moves into calligraphic images and made screen printings on cotton and silken tissue paper. Photo’s Charlotte Visser.


2016 Knot black (3D)
Cotton, black pigment and flax/cotton threadsSince Medieval times, the disentangling of a knot was used as a symbol for unraveling one’s own complexities. This work is a test of both the paper’s strength and its flexibility, and, consequently, its capacity to be tied into a proper knot.
After its creation, the Knot appeared also in a silkscreen print with a Japanese house in the background. Photos by Charlotte Visser.


2016 Mathematics
4 pieces made from the peel of asparagus, white flax thread

Mathematics II, III, IV and V are loose interpretations of mathematical calculations that use geometric transversals: lines that divide the side of a geometric shape in two. Transversals are used in many mathematical theorems and proofs, such as finding the balance point of a triangle. Even though the lines in this work don’t follow mathematical precision, nor do they prove anything, they do divide the surface in smaller areas. Drawn on intuition, they could coincidentally stand for a mathematical calculation. Where does math end, and where does natural shape take over? Photos by Charlotte Visser.


2015 Tribute to Asparagus
Installation: 3 sheets of asparagus paper and flax/cotton threads

Growing up in the country, the abundance of vegetables during the harvesting season meant that my family often received surplus from neighbouring farmers. One of the rarer crops was white asparagus, only harvestable during a few weeks a year. Calling it a white gold vegetable because of its characteristics, delightful taste and its relative rarity, the white asparagus was a popular delicacy in the region. This artwork is a tribute to the memory of the family harvesting, cleaning, and finally eating the white gold. Photos by Charlotte Visser.


2014 Back to nature
Lasercut portraits in plant papers

When I met Anne from Norway in 1993, we immediately became friends. We worked a lot together and made beautiful designs. After a few years she felt homesick and went back to Norway. Her argument was that she missed ‘the space’. Since then I travelled many times to see her and to find out more about the Norwegian mountains and landscapes. In 1998 we organised a paper workshop in nature, and made many handmade papers from plants. We used water from a nearby lake. After this experience my career as a paper artist took off. Thanks to Anne, in 4 different portraits in 20 different plantpapers. Photos by Henk Treur.


2012 Millstones

These artworks have two meanings. The only millstone collar still in existence at the Rijksmuseum always fascinated me. These collars were worn by both men and women; it was a fashion from the Spanish Court and it conveyed status.
The series made of paper and textile, comes from my fascination for old craftsmanship. An area in the north of Holland, called the ‘Zaan’ is well known for its 16th century windmills. At that time, more than 1000 mills were active for industrial production and also for controlling the water levels in the canals and lakes. Photos by Henk Treur.


2010 Wood of wonders

Now and then I lose myself in search of new paper materials. I collect many old books and papers from the past. Specially old books about flora, the contents of which relate to the plant fibres I use. The towers are a result of my exploration of new paper in combination with torn pages from old books. These towers are a recurring theme in my life, and I shall pursue it as long as my paper materials inspire me. Photos by Henk Treur.


2010 Three generations

I wanted to make portraits of 3 generations of my family (at that time everybody was still alive). So I photographed my parents, parents-in-law, my boyfriend, myself and our son. In the end I decided to put the focus on the eyes. The images became more graphic. Now, as an observer, you only see strange spots at first, but when standing at a distance, you will recognise the eyes. I designed the purple paper eyes separately. Later I layered them in the white pulp. Three years later my father died and shortly after, my mother-in-law. But now we can look at them, and they look back at us.


2009 Packed clouds

In my research I found out about stretching handmade paper while it is still partly wet. You can play with the fibres and you get a textile feeling. Smocking pieces and using different fibres like flax and hemp created the illusion of clouds.


2008 Sea of Tears
Installation size: 6 x 4 x 4 m. (variablel)
material: handmade paper of flax and hemp with indigo blue pigment, silk

My father became very ill in his early sixties. He suffered for many years from lung disease.To survive, he had to be hospitalised many times. Every time it was a matter of life or death. Slowly his character and personality changed and I was very sad as the special relationship we had together suffered. I began to miss our previous conversations and times together. Sea of tears represents my sadness towards him and the powerlessness to help.


2006 Way of Life

Ten years ago I started exploring the theme “towers”. These are all kinds of tower-objects, a theme that tells many stories. The material used for these towers had to do with the meaning of the object. Sometimes the form of the object tells the story itself. I made these paper towers in 2006.They are called “Way of life”, and include three themes: Spirit (white object), Intellect (black object) and Emotion (red object). Photos by Rob Mostert.


2000 Towers De Longte

The first 10 towers I made were an assignment from a printer (de Longte) were I worked with at that time. The director had put his office as a landmark on a virtual map. He literally had a red spot on his floor, near his desk. I used this red spot, made from red silk, in all the objects. I also made paper from cleaning cloth, used for cleaning the presses (the dark grey paper). I used white flax for contrast. The towers were presented as gifts for the printer’s most beloved clients. The artwork was wrapped in half transparent Japanese paper.


1998 Japanese objects (Holland Paper Biennale)

I made these objects, after having travelled through Japan. They were all sold during the first Holland Paper Biennale. I was inspired by the paper masters I worked with in their workshop. I learned Japanese paper making in Ino, Kochi, at the great island Shikoku. I named the art objects after the temples and gardens I visited. Photos by Rob Mostert.