Friday, June 4, 2010

I care a lot, project and on line exhibition...

Online exhibition Adam Grinovich Ana Morais Caldas Anna Williams Annette Dam Barbara Deriemaeker Beatrice Brovia Burcu Buyukunal Caitlin Wood Chloé Durand Claire Baloge Dalya Israeli Deganit Stern Schocken Einat Leader Ela Bauer Ella Wolf Filomena Praça Frida Åberg Gular Mustafa Hannah Joris Iacov Azubel Ingrid Römmich & Veronika Schmidt Jan Turzo Katja Prins kristina Lugonja Loukia Richards Malaika Najem Marieke Van Diepen Melanie Georgacopoulos Michal Oren Michelutti Flavia Eleonora Midori Ikeda Miri Admoni Noga Hadad Nuria Briones Perez Sally Von Bargen Mervat Hakroosh & Rotem Lewinsohn Tamara Navama Teresa Milheiro Ulla Ahola Van Joolingen Machteld Vered Babai Vivi Touloumidi

Barbara Deriemaeker
Tear Drops
Belgium, 2010
Materials: Porcelain, Cotton Rope
Techniques: Ceramics: Porcelain Clay
Dimension in cm: 30 x 18 x 10

When I was a child, my parents where
looking every day the news on television
and I was asking my mother why these
women are crying and shouting hysterical.
My mother answered that these people are
living in the Middle East and they are
always fighting there. What an impact
these images had on me as a child and even
now 20 years later I still see women crying
and shouting hysterical. It is unbelievable
that probably my child is going to ask me:
Why are they crying?
This pain, suffering and tears of this
innocent people, men and women with
children in war in the Middle East is the
base for my work. A mass of tear drops on
a thin red cotton rope that is cutting the
skin of your neck because of the weight of
the tears, referring to the pain, suffering
and heaviness of every tear drop.

Artist Statement:

What was your starting point or your
inspiration for doing this project?
Almost every day the media reminds us the
problems in the Middle East: political/
religious issues, war, pain, blood, sadness,
hysterical people, ....,TEARS,...
Do you have a personal (or other)
connection to the exhibition’s theme?
I don't have a personal connection with the
theme, but I believe that every human being
is in a certain way connected through the
media. Seeing people killed, children
searching their parents or a crying woman
holding her dead child, must have an
impact on every human being of flesh and

What were the main reasons for choosing
the materials, shapes or technique in your

The materials I have worked with are
porcelain clay and red cotton rope.
Porcelain is a very fragile/delicate material
when it is not baked in the oven, ones in
the oven, it is hard and strong. I choose for
a thin cotton rope because cotton is strong
and the thin lines are cutting your skin
because of the weight of the tear drops. Red
is for me a very strong color referring to
blood, life/dead, love...

What kind of feeling you wish the viewers
will get from your work?

I believe that every body can experience
another feeling by wearing my necklace.
What is important for me is that my work is
starting a discussion, a conversation. For
example: when wearing the necklace, it is
hurting and heavy. You like that feeling?

If you could give your Jewelry to an
important figure in the Middle East who
will he/she be? and why?

I would like to give my jewelry to the man,
woman or rulers behind the curtain

Ela Bauer
The Netherlands, 2010
Dimension in cm:
54 x 14.5 x 10

Artist Statement:

This is a huge heart which actually is a
huge knot. That is the key feeling in this
work; a huge, screaming (maybe
bleeding..), knot- heart. The knot is such a
paradoxical form; it consists of “one”, but
through an action (of knotting) it becomes
“two”, with a heart between them. At the
same time it is the ground of endless
processes which in themselves are not
complex, but all together they create an
unsolvable, knotted reality. An un-
followable mass of actions and reactions.
There is no wrong or right, just a complex,
painful situation.

What was your starting point or your
inspiration for doing this project?

I grew up in Israel. I saw the world through
Israeli eyes, took things around me for
it is very complicated for me to talk about
the Palestinian- Israeli conflict ( what a
weak form to name this situation as
“conflict”…), because many stages of
dealing with the “conflict situation” still
exist in me: At first, you are taught certain
facts. Then you realize that facts can be
interpreted on different manners,
depending on your intention, position,
interests, etc., you become critical. Even
today when reading a book of Amos Oz, or
Alon Chilo, I realize things which I never
saw, or questioned before. Then you have
years of mutual Palestinian – Israeli
actions, reactions, where no matter how
you feel and how sympathizing with the
Palestinian cause you are, you can get the
knife in your stomach, or explode in a
random buss, just because it’s a Jewish or
Arabic buss… These were scary, depressing
and frustrating years, a main reason for me
leaving Israel. I wish things were simpler, I
wish that both could feel the other sides
pain and needs.

What were the main reasons for choosing
the materials, shapes or technique in your

Well, I don’t feel like being moralistic, and
I also don’t think I have solutions… I just
feel this endless, big, complex, painful knot
that is there, and for my feeling will be
there until… time will pass, and things will
dissolve… I chose the form of a knot, which
is a heart, because of the feeling of a huge
knot that I have in relation to this conflict
situation (as I wrote in the chapter
“concept”).I used threads because of their
“linear” character and their simple, basic,
daily character… can embody a trace, a
process. I used different colors of thread,
but the dominating color is red, followed by
black, suggesting… pain..?

Personal information:

personal website:

Inspiring artists:
Louise Bourgeois, Jonathan Safran Foer,
Amy Winehouse

Top 3 materials:
Maybe threads, maybe silicone… all the rest

If I wasn’t an artist what profession would I
A linguist, scientist in the literature…?

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