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
