The ties that bind
It was when I was asked to think of the "property of clay" that the current series "the ties that bind" started. Or maybe it started when I was directed to certain essays and theories about art, giving me an abundance of language to reflect upon.
So here I am, taking everyday issues and objects, turning them slowly around, allowing myself to see them in a way for the first time again; sometimes noticing that I missed certain aspects, and that they really are not what I always thought they were. Maybe this is an attempt to change the way I see things, or maybe I am attempting to see how I could change things.
While my hands had learned about clay over the years, and I love the feel, the life of it, I now started to wrap my brain around it, around art, as well. I also remembered admiring bronze sculptures that showed a contradiction between the heaviness of the material used and the form given. I had recently taken many close-up photographs of a balloon, but was not yet sure what to do with those images. And so, thinking about the "property of clay," I also started thinking about the things one cannot do with clay. You cannot blow it up like a balloon, or tie it in a knot.
Hmm. . . . ., a series about knots perhaps, and the ties that bind. Which ties then bind me (you and me), and while focusing on the knot, such a very small detail, how could I give you knowledge of the whole? Perhaps, I am revisiting personal milestones or obstacles, perhaps I am making social statements, perhaps I am pushing boundaries, but certainly, I am changing and my work is growing. And maybe clay speaks for me because my work might speak to you.
To see the pieces in this series use the arrows at the top of the page.
About me
What I would like you to understand is that it is unimportant whether my work is internationally known, sought after or not. To enjoy it, or dislike it, you really do not need to know anything about me at all.
If my work piques your interest, momentarily stops you, I am pleased.
If you are a creative person, eager to express yourself, but somehow not quite getting there, stay with it and use your time wisely. Keep developing at least some skills and build upon your knowledge, until that time comes when you can give it your all. Because what I learned about art and life, while busy with other demands, now comes into play. And now I play "art" hard and fast.
Over the course of my adult life, while earning a living full-time and helping to raise my kids, Ahmad and Jihan, I usually attended one art class or another. Years back, on Saturdays, at the Rietveld Academy in Amsterdam (yes, I am Dutch), during the early 80's, while living and working in New York at the School of Visual Arts. And later still at the California College of Arts and Crafts. But I attended other classes at lesser-known facilities as well.
Besides working, I drew a lot, often carried a sketch book, used pen and ink, created logos, designed album covers, trade show signs and advertising materials, but was always a bit frustrated - as if something was missing. It was not until the early 90's that I started to work in clay, and then mostly in figurative form. It made me remember selecting and paying for bricks of clay at the local hardware store as a young teenager, and carrying them home as if they were made of gold. I had forgotten this experience, "the ease" with which I had created 3-dimensional work in the past.
In 2004, shortly after moving to Texas, I met Steve Dubov at the Austin Sculpture Center, where he was teaching at the time. He became my mentor, and over the next two years exposed me to aesthetics, fine art, art history, materials, and methods, in a way I had never thought possible. Lucky, lucky me! If you live in the area, check out his 101 Class at Atelier 3-D, it is unsurpassed.
Since then, it has been about working, specifically working in clay. With an intensity, motivation and dedication I had not known before, many hours a day, many days a week. I am now working on a series of large size sculptures referred to as "the ties that bind", as shown and described on this site. And, I am contemplating my responsibilities as a female sculptor in her fifties, giving expression to the female nude, in my day and age. Enjoy the website.
Where you can find me
Exhibitions
I have been so busy creating work, and moving the studio to the East side of Austin that I have not actively pursued showing my work, but here is a listing of public displays:
November 2007
Participant in the East Austin Studio Tour, a show of recent work to many, many visitors over a two-day period;
Spring 2006
Six large and two small ceramic pieces were displayed at a private showing for a group of art connoisseurs at Atelier 3-D
2005
One large ceramic piece was shown at Sculptfest at the Umlauf Museum in Austin, Texas;
2005-2006
One large ceramic torso (Chantal) was placed prominently outside of the Sculpture Academy of Austin on Burnet Road;
1996
Fourteen multi-media pieces were shown in a popular annual art show in San Francisco; and
1995
Four multi-media pieces were shown in Berkeley.
It was when I was asked to think of the "property of clay" that the current series "the ties that bind" started. Or maybe it started when I was directed to certain essays and theories about art, giving me an abundance of language to reflect upon.
So here I am, taking everyday issues and objects, turning them slowly around, allowing myself to see them in a way for the first time again; sometimes noticing that I missed certain aspects, and that they really are not what I always thought they were. Maybe this is an attempt to change the way I see things, or maybe I am attempting to see how I could change things.
While my hands had learned about clay over the years, and I love the feel, the life of it, I now started to wrap my brain around it, around art, as well. I also remembered admiring bronze sculptures that showed a contradiction between the heaviness of the material used and the form given. I had recently taken many close-up photographs of a balloon, but was not yet sure what to do with those images. And so, thinking about the "property of clay," I also started thinking about the things one cannot do with clay. You cannot blow it up like a balloon, or tie it in a knot.
Hmm. . . . ., a series about knots perhaps, and the ties that bind. Which ties then bind me (you and me), and while focusing on the knot, such a very small detail, how could I give you knowledge of the whole? Perhaps, I am revisiting personal milestones or obstacles, perhaps I am making social statements, perhaps I am pushing boundaries, but certainly, I am changing and my work is growing. And maybe clay speaks for me because my work might speak to you.
To see the pieces in this series use the arrows at the top of the page.
About me
What I would like you to understand is that it is unimportant whether my work is internationally known, sought after or not. To enjoy it, or dislike it, you really do not need to know anything about me at all.
If my work piques your interest, momentarily stops you, I am pleased.
If you are a creative person, eager to express yourself, but somehow not quite getting there, stay with it and use your time wisely. Keep developing at least some skills and build upon your knowledge, until that time comes when you can give it your all. Because what I learned about art and life, while busy with other demands, now comes into play. And now I play "art" hard and fast.
Over the course of my adult life, while earning a living full-time and helping to raise my kids, Ahmad and Jihan, I usually attended one art class or another. Years back, on Saturdays, at the Rietveld Academy in Amsterdam (yes, I am Dutch), during the early 80's, while living and working in New York at the School of Visual Arts. And later still at the California College of Arts and Crafts. But I attended other classes at lesser-known facilities as well.
Besides working, I drew a lot, often carried a sketch book, used pen and ink, created logos, designed album covers, trade show signs and advertising materials, but was always a bit frustrated - as if something was missing. It was not until the early 90's that I started to work in clay, and then mostly in figurative form. It made me remember selecting and paying for bricks of clay at the local hardware store as a young teenager, and carrying them home as if they were made of gold. I had forgotten this experience, "the ease" with which I had created 3-dimensional work in the past.
In 2004, shortly after moving to Texas, I met Steve Dubov at the Austin Sculpture Center, where he was teaching at the time. He became my mentor, and over the next two years exposed me to aesthetics, fine art, art history, materials, and methods, in a way I had never thought possible. Lucky, lucky me! If you live in the area, check out his 101 Class at Atelier 3-D, it is unsurpassed.
Since then, it has been about working, specifically working in clay. With an intensity, motivation and dedication I had not known before, many hours a day, many days a week. I am now working on a series of large size sculptures referred to as "the ties that bind", as shown and described on this site. And, I am contemplating my responsibilities as a female sculptor in her fifties, giving expression to the female nude, in my day and age. Enjoy the website.
Where you can find me
| In the studio, of course! | |
| Contact me for the address if you want to visit or send mail. | |
| eMail: | marjaverhaar@earthlink.net |
| Phone: | 512 263-0196 |
Exhibitions
I have been so busy creating work, and moving the studio to the East side of Austin that I have not actively pursued showing my work, but here is a listing of public displays:
November 2007
Participant in the East Austin Studio Tour, a show of recent work to many, many visitors over a two-day period;
Spring 2006
Six large and two small ceramic pieces were displayed at a private showing for a group of art connoisseurs at Atelier 3-D
2005
One large ceramic piece was shown at Sculptfest at the Umlauf Museum in Austin, Texas;
2005-2006
One large ceramic torso (Chantal) was placed prominently outside of the Sculpture Academy of Austin on Burnet Road;
1996
Fourteen multi-media pieces were shown in a popular annual art show in San Francisco; and
1995
Four multi-media pieces were shown in Berkeley.
