Niederlande
Anjet van Linge
More information on www.anjetvanlinge.nl and www.ikbeneenwoord.nl .
In my work I explore space: what is the quality of space, what creates it, what bounds it. Mostly, a work springs from a question that occupies me. Does hope have a shadow side? What is the story of our unlived lives, the paths we didnât take? Is the soul a place? Sometimes I start with a question, sometimes I simply start to work the stone, and the question emerges through the work.
I work mainly with hammer and chisel, and seek contact with the stone as old, wise material. The physical contact between point and stone, the destruction needed to create, the irrevocability of each blow and the rhythm of marks on the stone feel an essential part of the work. The sculpture that emerges invites, again and again, a not knowing, and a silent discipline to see what is already present.
Diane Frenay wrote about me: âAnjetâs work is first and foremost the stone she explores, where she gives and takes, creates. The forms she carves out of the stones with careful attention can be based on a question, or a feeling. The answer, the sculpture, does not take the place of the original question, and so the viewer can explore both. The viewer is being invited to experience the volumes of stone, to explore the tension and space between and to touch his own sense of wonder. â
The English sculptor Richard Perry categorized my work last year as âspiritual minimalismâ . That feels fitting.
I started out as artist later in life, and studied with Adriaan Seelen, Gerard van Rooij, and Ben Blaauw. My mother taught me how to look, and to wonder.
In my work I explore space: what is the quality of space, what creates it, what bounds it. Mostly, a work springs from a question that occupies me. Does hope have a shadow side? What is the story of our unlived lives, the paths we didnât take? Is the soul a place? Sometimes I start with a question, sometimes I simply start to work the stone, and the question emerges through the work.
I work mainly with hammer and chisel, and seek contact with the stone as old, wise material. The physical contact between point and stone, the destruction needed to create, the irrevocability of each blow and the rhythm of marks on the stone feel an essential part of the work. The sculpture that emerges invites, again and again, a not knowing, and a silent discipline to see what is already present.
Diane Frenay wrote about me: âAnjetâs work is first and foremost the stone she explores, where she gives and takes, creates. The forms she carves out of the stones with careful attention can be based on a question, or a feeling. The answer, the sculpture, does not take the place of the original question, and so the viewer can explore both. The viewer is being invited to experience the volumes of stone, to explore the tension and space between and to touch his own sense of wonder. â
The English sculptor Richard Perry categorized my work last year as âspiritual minimalismâ . That feels fitting.
I started out as artist later in life, and studied with Adriaan Seelen, Gerard van Rooij, and Ben Blaauw. My mother taught me how to look, and to wonder.
