On this episode, we connected Bas Oussoren and Lisette van Hoogenhuyze, for an in-depth chat about the hows, whys and with who of making art.
Outside of the answer ‘just because’ (which is a valid one), why is it that you make art? What is it that you believe in and why do you show it to people? (at Unfair for instance)
I make art because it’s the way I make sense of things. It helps me process the world as I move through it and it keeps me aware of the threads that tie us together, even when life feels individualistic. As an artist I feel fortunate to have the freedom to walk a path outside the more conventional routes. Sharing my work is a way of opening a space for dialogue rather than trying to deliver conclusions: in that way I believe art can gently remind us that we have choices, but I think the pace of the system we created sometimes makes us forget it.
If you had unlimited means, funds, space and time, what would be the project you delve into?
I would want to create a sort of parallel universe: a giant, collaborative, interactive art piece shaped by the visitors. I would like to have conversations about other ways the world could look like today: different systems, different vehicles, light or energy sources. The project would be a space to explore what the world could look like if we allowed ourselves to imagine differently, and if we did that imagining together. Children would play a big role too, because they’re often the ones who remind us how free our thinking can be when we let it.
Lisette van Hoogenhuyze, Clouds in my coffee (2023)
What kind of critique(s) would you give to the art world at the moment? Where should we be heading?
The critique I would give the art world today is that so much of it still rests on the shoulders of artists, while artists themselves often feel isolated or alone. Maybe it’s because I’m getting older, but I see more clearly how many projects, people, and institutions are lifted by the work and energy of artists and how little artists claim their own space in return.
Also, the art world has become fast and individualistic, and it sometimes forgets that art is, at its core, something that grows through connection, support, and shared thinking. If artists stood together a little more, claimed their place a little more, the whole system could become softer, healthier, and more meaningful for everyone involved.
Back in the days it was more common for artists to have a strict set of rules they applied to their work process. For example ’no straight lines’ or ’strictly primary colors’ and I think nowadays we all might have our own little rules too, but maybe they are less obvious. Do you have a set of rules you created for yourself in relation to your work?
No set of rules, I guess the most ‘rule-y’ thing is it has to be a well made sculpture? The work should be the best it can be, in the material fitted best. I’m becoming a big material nerd I think and I’m always trying to look at what fits the sculpture best instead of making everything out of clay.
Do you work better individually or do you need other artists around you?
There is a clear distinction between making art and helping people and being helped with production for example. Until I’m at the point of production, I work alone. From sketching, making multiple clay sketches and upscaling. I often bounce ideas off of my partner :)
Working together with other artists however is one of the most rewarding things I can do in my practice. To me it feels incredibly meaningful to be able to work together with friends and share the goals you are working towards.
When you start thinking of a new line of work, or a series, or maybe just a one-off, what is your starting point? Is it a walk in the city, a ride on the subway, a swim in the ocean? What sparks you to start something new and how does that moment translate in your visual work?
Often it’s screenshots and photos I saved on my phone without knowing exactly why. Once in a while, I go through these images and make some sketches in a dummy of what is still interesting. After some time has passed, I revisit the sketches and continue working on them in clay. With site-specific sculptures I always go to the place and do research, mostly visually and thereafter archival as well.
credit Tommy Smits