emblematic | zinnebeeldig – Jacqueline Heerema

…work in process…in search of… circulair sustainable conceptual ceramics…
art + Earth + paleontology + geology + archeology + hydrology + ecology + future climate + conceptual ceramics + 3-d technology + Sea: it’s a love story!

*_{Earth, ceramics, time and climate}*_{, 2019}

Bekers met Ziel | Cups with Soul

_{2023: Still-life, collection of Cups with Soul 2020-2023
with till (keileem), North Sea Mammoth Fossils Porcelain, Mosses- Dunes Iron Age pottery shards Porcelain, Plantscape III cast} _{outside and cast inside of plantmade Biodigital Eggshell Porcelain: sunlight, reflection, substance of shadow; photo Theo Mahieu.}

above ground | subterranean | submerged

*_{3-d scan of 1 single strand of living peat moss submerged in water; scan Yvo van Os}*

in search of the sublime substance of shadow… migrating fluid matter, colors… drawing…
shape-shifting sun, water, minerals
in-between-ness of time, matter, landscapes, climate
still-life | still of time | beauty of transience, of impermanence

recent research | artist-in-residencies | exhibitions
2024: Overlevers | Survivors, new circulair research; upcoming artist -in-residency Arita, Japan
2024 Nabijheid | Proximity, artist-in-residency Park Studio de Orangerie, Zone2Source Amsterdam
2023 Shape-shifting, artist-in-residency Earthly Encounters, Clay Kitchen Portugal
2023-ongoing Plantscape, Plantmade, Botanic Porcelain, Biodigital Eggshell Porcelain
2022 It’s a love story: Earthly Provenance | Ancestral Intimacy, exhibition, Zone2Source Amsterdam
2022 Dagzomen, artist-in-residency Park Studio de Orangerie, Zone2Source Amsterdam
2022 In search of the miraculous.. artist-in-residency Cascadas Artspace Barcelona
2022 Gathering Dust, or delay as artistic research method, performative intervention, Arti et Amicitiae, Amsterdam
2022 Soft Soils | aardtijd, exhibition, Arti et Amicitiae, Amsterdam
2021-ongoing Sphagnarium, learning to take care of a living collection of indigenous landscaping peat mosses
2021 aardtijd, artist-in-residency Glazen Huis, Zone2Source Amsterdam
2021 Re-cast as Repository | Residual Intimacy artist-in-residency EKWC, Open Studio Test Case XXIV
2020 Breath of Soil(s), exhibition, Zone2Source Amsterdam
2020 sedi | senti | ment artist-in-residency EKWC, Open Studio Test Case XXII
2019-ongoing The becoming, The being & The meanwhile; subsurface as living climate archive; empirical artistic field research themed around Land in Wording, Amstelpark, Zone2Source Amsterdam; #1 Genesis, #2 Onland; Guardian, #3 Breath of Soil(s), #4 Soft Soils, #5 aardtijd, #6 toenadering, #7 foreshadowing | residual intimacy, #8 Soft Soils, aardtijd, #9 Gathering dust

With special thanks for the support of Mondriaan Fonds, Stroom Den Haag, EKWC, FabLab@EWKC, Zone2Source, Cascadas Artspace Barcelona, Clay Kitchen Portugal, Yvo van Os and many more! To be continued.

U Tsu Wa | t’o t’ai

“The humble cup is the most used and useful object made by the potter.” (The Intimate Object, Australian Ceramics Association)

in search of…

still-life | still of time | beauty of transience, of impermanence …

Plantmade | botanic porcelain | biodigital eggshell porcelain | vulnerability | Earth …

_{2023: Still-life with Plantscape I, fossils and/or artifacts, living Sphagnarium and Biodigital Eggshell Porcelain; photo Theo Mahieu}

_{2023: outside and inside cast -in-between-ness of Plantmade, Plantscape III, Biodigital Eggshell Porcelain, fired; photo Thoe Mahieu.}

_{2023: Plantscape III – In search of the in-between-ness… a constellation? a mountain? eggshell porcelain…
Plantmade; 3-d scan – print – mould – cast – outside + inside + cup with soul + sunlight + reflection…
Work in proces, with special thanks to Yvo van Os, FabLab @EKWC, Stroom Den Haag, Zone2Source, Karin & Frans van Paassen; photo Theo Mahieu.}

_{2023: Plantscape II – Plantmade – 3-d scan – print – mould – cast – outside; photo Theo Mahieu.}

_{2022: detail of 3-d visualization of scans of Plantscape I with added imprint by digital processing; aesthetics and technology; 3-d scans by Yvo van Os, with special thanks to the support of Stroom Den Haag.}

_{2022: 3-d visualization of scans of Plantscape I with added imprint by digital processing; aesthetics and technology; a moment in time; 3-d scans by Yvo van Os, with special thanks to the support of Stroom Den Haag.}

Q: When a piece is unfired, do we still call it ceramics?

A: “I do consider working with unfired clay as a ceramic practice and have included raw clay work in most of my major curatorial projects”.
Wendy Gers, curator, Princessehof National Museum of Ceramics, Netherlands.

_{2022: Plantscape I, Plantmade, unfired, too vulnerable to touch; made during artist-in-residency Dagzomen, part of It’s a love story, Zone2Source; photo Theo Mahieu.}

In search of the miraculous… the in-beween-ness…

_{2022: In-between-ness, In search of the miraculous…, artist-in-residency Cascadas Artspace, Barcelona; photo Mare Mahieu.}

_{2022: Soft Shells, ‘In search of the miraculous … (layers of) time – Earth – climate – sea – soil – fossil – artifact – imprints or impression of something or someone…’} *_{inspired by Neolithic Cardial Ceramics, artist-in-residency Cascadas Artspace Barcelona, BCN; photo Mare Mahieu.}*

_{Subscapes, Plantscapes; unfired, made during artist-in-residency Dagzomen, part of It’s a love story: Earthly Provenance | Ancestral Intimacy, Zone2Source 2022; photo Luuk Smits.}

*_{In-between-ness, raw Subscapes, Plantscapes, made during artist-in-residency Dagzomen, part of It’s a love story, Zone2Source 2022; photo Luuk Smits.}*

_{2020: Inhale. Exhale. The art of making an Earth Sphere, online 24/7 global workshop, following the sun around the globe.
Dune sands from underneath my home, untouched by sunlight for 125 years. Special thanks to Re-Peat Collective.}

_{Sphagnarium, learning to take care of a living collection peat mosses, the main terraforming indigenous} _{entity that shaped the Netherlands, part of It’s a love story: Earthly Provenance | Ancestral Intimacy, Zone2Source 2022; photo Luuk Smits.}

_{In-between-ness, Sphagnarium, learning to take care of a living collection, part of It’s a love story, 2022; photo Luuk Smits.}

_{Cups with Soul, the beginning of a love affair, fired, made during artist-in-residency EKWC in 2021, part of It’s a love story: Earthly Provenance | Ancestral Intimacy, Zone2Source 2022; photo Luuk Smits.}

_{In-between-ness, Cups with Soul, the beginning of a love affair, artist-in-residency EKWC 2021, part of It’s a love story, 2022; photo Luuk Smits}

*_{Sublime Soft Stones, part of In search of…, artist-in-residency BCN, 2022; photo Mare Mahieu.}*

_{Sublime Soft Stones, collected on the shores of Barcelona in 2004, documented in 2020, part of In search of…, artist-in-residency BCN, 2022}

_{Substance of shadow 2, layers of time, prints from archive, found and made matter, part of In search of, BCN 2022; photo Mare Mahieu.}

_{aardtijd, Gathering Dust, performative intervention, Arti et Amicitiae, 2022; icw artist Eline Kersten, photo Luuk Smits}
*_{Gathering dust 2 is performed by students Artistic Research In Situ (University of Amsterdam, Gerrit Rietveld Art Academy, Maastricht Institute of Arts)}*

_{aardtijd, foreshadowing, substance of shadow; inspiration: Isaac Israels, Mata Hari (1916, collection Kröller-Müller Museum, NL),} _{.artist-in-residency EKWC, 2021}

*_{aardtijd, 2021. Exhibition at Arti et Amicitiae, 2022. Photo: Gerrit Schreurs}*_.

_{Onland, public intervention, 2019; photo Theo Mahieu.}

_{In-between-ness of a fossil and/or artifact, 3-d printed with North Sea Mammoth Fossil Porcelain and -glazing; artist-in-residency EKWC, 2020}

*_{in-between-ness of a fossil and/or artifact, re-cast as repository, Dunes Iron Age Shards Porcelain + -glazing, EKWC 2021; photo Luuk Smits.}*

in-between-ness of a fossils and/or artifact, sedi | senti | ment, Mammoth Fossils Porcelain and -glazing; EKWC 2020; photo Luuk Smits. — *_{in-between-ness of a fossils and/or artifact,}*_{sedi | senti | ment}*_{, North Sea Mammoth Fossils Porcelain and -glazing; EKWC 2020; photo Luuk Smits.}*

weathering
worldmaking as timescaping, matterscaping, landscaping, climatescaping
a polycyclic mountain?

In 1991 I hiked through the Himalayas in Nepal, wondering about the genesis and massive natural erosion of this enormous range of mountains. And I saw human destruction. Locals cut woods for fire to heat buckets of water to cater for hikers like me. Resulting in huge landslides that wash away all fertile soils that cling to the slopes of these mountains. Later I learned that the top of the mountain can actually be found at the foot of that same mountain and sediments are spread all over the world. I brought home a small green-grayish stone in my backpack. In sync with the ‘original’ habitat I put the stone in some water and made this work in 1996.

inspiration worldscaping

worldscaping as in timescaping, matterscaping landscaping, climatescaping..

*_{1971: Cornwall UK; the irony of skiing on the artificial slopes of waste mountains, a result of china clay extractions.}*
*_{The image is now in the collection of Nationaal Archief.}* _{“Every ton of useable china clay brought with it 5 tons of waste”.}

*_{1977: Close Encounters of the Third Kind, Steven Spielberg (film still).}*_{The film tells the story of several individuals’ experiences with extra-terrestrial phenomenon, followed by subliminal visions and subsequent obsession with a shape, silhouette at first then a full structure. The compulsion to understand the visions lead to construct more extravagant structures out of shaving cream, mashed potatoes, clay and dirt, and eventually destroying large portions of the family house, and the neighbor’s garden. The shape is inspired by the Devils Tower in Wyoming USA. The tower is thought to be the lava of a prehistoric volcano. The lava hardened and the surrounding soil has been eroded away by wind and water over several million years, leaving only the lava core.}

Zandmotor (2011), the first climatescape in the Netherland, designed as 'Building with Nature', to use the forces of nature (wind, sand, currents) and to dissolve in time. But can it also be perceived as a active agency for humanity to change? — _{Zandmotor (2011), the first climatescape in the Netherland, designed as ‘Building with Nature’, to use the forces of nature (wind, sand, currents) and to dissolve in time. But can it also be perceived as a active agency for humanity to change?}
*_{link to essay}*

Sphagnarium, learning to take care of a living collection of landscaping Sphagnum, peat mosses that shaped the Netherlands, ongoing — _{Sphagnarium, learning to take care of a living collection of indigenous Dutch landscaping Sphagnum, peat mosses that shaped the Netherlands, ongoing}

inspiration, historical references art-nature

Inspiration:
As a teenager I was fascinated by a photo of a moving rock, published in an edition of National Geographic Magazine (if I remember correctly). And that there was a myth surrounding these rocks. Nobody knew how or why they could move… So the first time I traveled to the United Stated, I wanted to see this natural phenomenon with my own eyes and ‘Racetrack Valley in Death Valley’ became my destination. However, it proved out of reach for a ‘touristic visit’, so the myth and speculations continued… until recently. But the seed was planted for my artistic practice, and I am still wondering how we perceive, interpret and represent the world around us.

*_{Sailing stones, also known as sliding rocks, walking rocks, rolling stones, moving rocks or wandering rocks. Racetrack Playa, Death Valley. California.}*

*_{Nature as inspiration for arts, ceramics.}*
_{Ru bowl, or The sky after a rainstorm. China, Northern Song dynasty (960-1127). The most striking feature is the green-grey glaze, once described as ‘the colour of the sky after a rainstorm’. Collection Princessehof National Museum of Ceramics, NL.}

_{Life casts.
Inspired by 16th century nature-explorer and ceramist Bernard Palissy (1510-1590). Trying to capture the essence of life in a marshy pool. Palissy is known for his contributions to the natural sciences, and is famous for discovering principles of geology, hydrology and fossil formation. (Image) On loan at Rijksmuseum, visit with Jan de Hond, conservator exhibition Onderkruipsels, 2022. Introduction, followed by visit to depot with Aurélie Gerbier, conservator Musée national de la Renaissance, Ecouen, France, 2023.}

_{Casts, models to share knowledge and imagination.
Teylers Museum NL: collection of enlarged cast models of foraminifera by D’Orbigny (1802-1857).} *_{Paleontologists and archaeologists used molds and casts as a method of sharing knowledge and insights as a form of ‘open source’.}*

_{Longing for nature, craftsmanship and the East as source of inspiration.
Haags Rozenburg eggshell porcelain. Collection Kunstmuseum The Hague, visit depot with Jan de Bruijn, curator Kunstmuseum, 2023..
It seems a parallel with the current time when more than 100 years ago artists went in search of ‘new art for a new and better society’ with nature as a source of inspiration and revaluation of craftsmanship (Art Nouveau). In the Boekhorststraat in The Hague (later Buitenom), the N.V. ‘s-Gravenhaagsche Kunstaardewerkfabriek, Plateelbakkerij Rozenburg (1883-1916) started producing eggshell porcelain (1899 -1914). This porcelain was painted with motifs derived from plants, flowers or animals and inspired by the East. It was first presented at the World Exhibition in Paris in 1900.
As a student at the KABK I had my first studio in the attic of this former porcelain factory. Now I try to make eggshell porcelain.}

*_{Still life by Giorgio Morandi (1890-1964), depicting the same familiar bottles and vases again and again.}*

_{Re-connecting with the original plaster replica at KABK in 2022}*_{; source of inspiration while student, 1980.}*

_{Art after nature, plaster casts.
The academic tradition of art academies to learn to draw after plaster casts.
KABK, Royal Academy of Art The Hague housed a Gipsmuseum (museum of plaster replicas, 1920 to 1960 part of KABK) to learn to make art after nature. After damage by WWII and a beeldenstorm – iconoclasm – to break with former traditions by Joop Beljon (my former tutor) now only relics of the plaster replicas are left. As a student I found one of these relics and made the drawing De voet (the first, student KABK 1980; in private collection). In 2022 I revisited the KABK and re-connected with the original replica of the Foot. Collections are now in RMO, Maastricht University. Allard Pierson Museum, visit with Rene van Beek, curator Allard Pierson, 2022. Visit exhibition Gipsen, tussen kunst en kopie, Bonnefanten Museum with Marjan Melkert, curator plaster Gypsotheek collection Bonnefanten Museum, 2024.}

staged authenticity

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