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May 2021

"The Dance between the Angel and the Serpent" got its final embroidery.

            


NOV 2020

Proud that my Dutch poem 'Self made isle' is one of the winners of the 'Bridge Text Contest' and will be engraved in a new bridge that will be build on the Amsterdam Isle IJburg where I live.


(Photo credits 'Self made eiland':  @quarkness & @prinsjorrit)

(Lousy) English translation:

Self made isle

*

Where no one has roots

But feet in the sand

And the children grow faster

than the trees can keep up with

*

Where the sun rises from the water

And hides at night behind the park

Where you can ripple, splash or sparkle

'The city' still on the other side


Dec 2019

'My Privilege' is made for the 2020 “You can’t paint that’ art competition by ‘Smash the Narrative’. The main subjects of the competition are censorship and taboo.

Being a person living in The Netherlands gives me a lot of freedom as an artist and as a person in general. I can’t think of anything that is of real danger for me to talk about, write about, or turn into art. There is no such thing as being censored in The Netherlands by government or law, at least not in my experience. Not al thoughts will be received with undivided enthusiasm by everybody, but there are few taboos I can think of, in the absolute sense of the word.

Then why is it that I don’t dare to speak my mind freely? Why am I so desperately try to hide -or cover up- the unconventional thoughts or ‘darker spots’ that sometimes occupy my mind? Why can’t I just ‘be’?

On the one hand I feel so privileged that I feel I have no right to have an opinion about topics such as racism, oppression or environment. On the other hand I’m afraid of getting into conflict if I would. The awareness that not everybody has an equal open mind and respect for someone who has a different view on the world, keeps me from being honest. The fear of not being excepted by my family, my friends and society in general, when they would know everything that's on my mind -the ‘real' me- keeps me from being open.

Is it really more important for me to be excepted than to be real and free?And is it really necessary to censor myself in order to keep connected? What would happen if I didn’t? Am I then losing my 'privilege', or is it all in my head?

‘My Privilege’ shows the dept of thoughts and opinions as well as their ability to be fluid and open for change. Here there is no such thing as ‘just black and white’, but colors adding and mixing. Eyes and ears are somewhat clouded by all the different ‘thoughts’ and ‘opinions’ and even though the colors are vibrant and alive and the thoughts and opinions can run freely over the painting, the mouth is not able to speak, being sewed together by white tread.

(I'm considering adding a sealed letter with all my unspoken thoughts and opinions, some of them dark and some of them light, some embarrassing, other simple, with the painting. Buying the painting would mean getting access to what I've been hiding from family, friends and society. I started writing, but I'm still not sure if I will be brave enough to do so.)

‘My Privilege’ is the last part of an art trilogy "Faces" and addresses, together with ‘She too’ and ‘Without Green’, questions about identity, guild, redemption and punishment. How can we ‘be’ and rest in our totality without condemning ourselves. And how can we belong and be excepted without loosing who we truly are.

            


Dec 2019

Enjoying the holiday vibes with self made christmas adornments. Using (spray)paint and glitter, the plain deep purple ordaments become unique little pieces of art covered in gold, silver, pink yellow and orange.



Oktober 2019

Expo @ café restaurant Blooker! The upcoming months my work is for show at Blooker located at Amstelplein Amsterdam.


31 Maart 2019

Mijn inzending voor de 'Lang leve Rembrandt' wedstrijd van Het Rijksmuseum is ingezonden. Het was de laatste dag dat inzenden mogelijk was en ik was om 15.00 de 8728e inzending. Voldoende competitie dus. :)

Mijn werk 'zelfportret Zonder groen' (Without green) is geïnspireerd op Rembrandts ‘Zelfportret op jeugdige leeftijd’ en zijn gebruik van licht, schaduw, reliëf en vernieuwende technieken.

Ik onderzoek of ik met enkel licht toch een ‘schaduw’ kan creëren en of ik mezelf net als Rembrandt kan vangen zonder mijn meest opvallende uiterlijke kenmerk te benadrukken: mijn ogen.

Wat blijft er nog van me over zonder de blik en het groen van mijn ogen? En meer filosofisch: Wat is een kunstenaar überhaupt zonder ogen? En wie ben ik zonder contrast, overbelicht, zonder mijn schaduw?

Goud-, zilver- en parelmoerverf vangen het licht. Het garen zorgt voor een extra dimensie als ware het een negatieve schaduw en doet denken aan de fijne lijnen van etsen.

Meestal volgt het garen de verf, af en toe expres niet en wijst het de verf waar deze ook nog had kunnen gaan.

Mierzoete kleuren ontstaan uit het felle wit. Mijn geliefde groen ontbreekt en het werk schreeuwt om veel meer contrast. Hetgeen waarin ik doorgaans juist het evenwicht in mijn werk vind. Maar ik houd me in en laat het zo.

Het zelfportret past zich gedurende de dag aan bij iedere verandering van lichtinval. En pas wanneer het donker begint te worden lijkt het op mij.


Helaas laat ook dit werk zich weer lastig fotograferen door het gebruik van verf dat het licht weerkaatst en de talloze hele dunne draadjes.

Meer close up ziet het er zo uit:



Nov 2018


Proud to inform you that my latest work 'www' won the audience prize in the 'Alter Nation' competion of thought provoking art by Smash the Narrative.

'www" was chosen as one of the 21 finalist in this contest about 'national identity in current times' and was displayed from October until November in the exhibition in Go Gallery Amsterdam.

For more information about contributing artist and contesting artworks, please visit: Smash the Narrative.



Nov 2018


My latest artwork is called 'She too'. Although the titel is -of course- inspired by the recent #metoo movement, the work itself should be viewed in a much broader context. The work is also inspired by the picture I saw on NOS news showing so called Dutch ‘moffenmeiden’ (German lovers) and the complexity of the several wars that went on for decades in Rwanda.

The ‘moffenmeiden’ were Dutch girls who were severely punished (without an official trial) after World War II for their relationships/affairs with a German soldier during the war. The girls heads were shaven and they were badly physically and often sexually abused as punishment for their 'love'. I was taken by the overwhelming touching and powerful mixture of guilt, grieve and willpower as shown by the girls in the picture.

The situation in Rwanda is complex because Hutu’s and Tutsi’s were both at one point in history the aggressor. After the genocide of 1992 Hutu’s and Tutsi’s are forced to live together side by side, since it is not possible to convict all the perpetrators because they make up more than half of the population. And this is just one example of the complexity of 'right' and 'wrong' regarding opposite sites in conflicts in general all around the world.

Both story’s, together with the developments around #metoo, show that there is a really thin line between being a victim and being an aggressor and that maybe we all have parts of both in ourselves. Between 'right' and 'wrong' -for me- lies an endless field of possible ratios.

This artwork explores what it looks like when contradicting experiences and opinions are all ‘true’. Can strength, grieve, serenity, aggression, guilt, suffering, submission, atonement, love etc. all take place at the same time within one single person? (And if so, should we change the way we look at others and ourselves and how we praise and condemn others and ourselves?)

Are guilt and innocence reconcilable?



Summer 2018

'Wonderland', 'Exploding Rainbow, Yellow' and 'Happy tears dried in the night', are for show and for sale at STIJLDEPARTMENT, Pampuslaan 23-25 in Amsterdam. Lovely excuse to visit this beautiful shop (and perhaps grab a delicious coffee or buy pretty dress while you're there?)


June 2018

About 'www' :

This work is not finished, and probably never will be. It's like culture(s): an ongoing proces. Layer on layer. "www" shows how cultures are erupted from earth. Their roots gained their color depending on the landscape. Our cultures can only exist in the presence of other cultures. If there was only one culture, there would not be any. Although they differ from each other, they all consist of the same building blocks.

This work shows the layers of culture(s). Culture rooted in the soil of its homeland and culture as layers above that soil: The way we speak, our internal rhythm given and dictated by the landscape we live in and the social agreements and conventions we made.

Cultures are never static, always fluid. As our landscape can change over many of years, so do our cultures. Not only by the change in landscape, but also by the view at, and sometimes touch of, other cultures.

There are no borders for cultures. With continuous exponential growing access to other cultures by traveling and internet, we accelerate that process of change. Our roots in the soil are still changing slowly, but 'above' we are influenced, touched and inspired. It's like we are one big organism consisting of cels that interact and exchange.

There are people that fear these (rapid) changes.. I like to look at it from a more optimistic point of view. That the exchange and mixing of our 'cultural colors' will create something larger than just the sum of those separate colors added up.

In time there will derive something out of this colorful web, that will exceed and transcend those colors. Hence the gold and silver lines.

The canvas is 50x50 cm. If displayed, it must hang horizontally, so the public can also look at the bottom of the work. I chose thread because of its fragile nature. A stool is part of the artwork, which enables people to look at the work from different angles regardless of their hight.

I used (besides the silver and gold) 41 different colors which I got from friends, who almost all got it from their moms and didn't use it themselves. The nails and threads remind me of my parents. It's like reconnecting with my childhood home. Being impatient and being someone who likes to throw with paint, this ongoing process with fragile threads is quite a challenge for me. The slow pass in which this artwork is created feels more like art, then is shown by the canvas.

'www' - the making of:


'www' - in Go Gallery Amsterdam:



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