August 1, 2013


Robin Kolleman graduated from the Academie van Beeldende Kunsten Rotterdam in 1988 specialized in sculpture and mixed media. After her time at the academy she has worked as a curator for the Erasmus gallery in Rotterdam. She is more than happy to be exhibiting as part of the SALON/KANT event. Her work is demonstrated in the beautiful Oude Kerk. “I really like and appreciate the set up of SALON/, with its different art disciplines showcased at unexpected location. I’m very happy to exhibit at the Oude Kerk.

How did you get involved with SALON/KANT?
A friend of mine asked me to send pictures to her to transfer to Gijs Stork. She thought it would really fit with the concept.

What’s your connection with kant (lace)?
It’s not lace in general; I’m more connected with textile.

What do you exhibit at SALON/KANT?
Two works, one is ‘Epos 1, an ode to daily life’. It is a complex work of art build up out of four parts: an old Dutch blanket case, an old wooden iron board, on top of that a mannequin doll dressed in a short wedding dress with a lace under skirt on ice skates with a blind fold shaped as an African veil. On the head of the doll, supported by one of her hands, there is a coffin attached which is made out of a knitted bedspread. From lace.
All parts are white, accept the skin tone of the doll and long skin lace gloves. I waxed the iron board to give it a more icy feeling.

What has been your process?
The beginning has been a test of finding stuff of Internet. I had to find the right parts to begin with. They are all second hand. After finding them the technical part started. How do I fix the parts together with maintaining the balance? Making the coffin, altering and stiffening the dress, moulding the blindfold, making the lace gloves: all part of the technical process. I found it very exciting when I had to put it all together; would it fit and stay put without using a safety thread?

What’s the connection between the work and lace?
Lace means transparency, for me. It comes back in different ways. In the under skirt, the lace gloves and of course the coffin. I use transparency to give my work a sense of light. Death is always there, but it doesn’t have to be heavy.

By Martino Bidotti