sort by

filter by


2050


2049

2048


2047


2046

2045


2044


2043

2042


2041


2040

2039


2038


2037

2036


2035


2034

2033


2032


2031

2030


2029


2028

2027


2026


2025

2024


2023



2022












































2020

Bachelor Fine Arts

2020

Famke Storms

Famke Storms

In my artistic practice, I call my work ‘occurrences’, in which I literally refer to the occurrences taking place in my studio. By creating a sort of chaotic atmosphere and tidying up as little clutter as possible, combinations of different materials come into being that I could not have predicted in advance. I often use photographs of everyday scenes that interest me as a point of departure for my work. I explore the combination of colour and shape and try to give this the acknowledgement that it deserves, asking myself how I could do justice to this colour and this shape. The function disappears; this information is lost during the creative process. I derive my inspiration from rooms that are cluttered with an abundance of objects. I can easily become overstimulated by this abundance. However, a single teaspoon can also unleash a plethora of emotions in me. I attribute human characteristics to the things around me. Depending on how I arrange them, these things can become imbued by tragedy, happiness, or other characteristics. A wooden slat looks much more endearing when placed in a corner, in comparison to in the centre of a room. This is because this wooden slat is being looked at by me at that moment. In this way, the occurrences start to belong to me – because I am the person observing them. To me, everything can provoke a favourable or unfavourable response, just as it can with every other human being. However you describe it, it has an essential appeal to my body. It is the subjective experience that counts, my personal connection with the colour, the material, and the shape.

What keeps me occupied is what I call the 'painting thing' issue. In this, I position myself on the interface of the manifestation of an object in the physical space and its painted representation on a flat surface. Painting, as a medium, allows me to remain true to my personal experience. I have always believed in subjective experience, and attach a great deal of value to this. This largely has to do with the fact that I am someone who is quickly moved by certain things. Making an experience your own starts with being in a place, perceiving a scent, a shape, a colour, etc. Specific stimuli take me to specific occurrences. The moment of attributing ownership starts after this moment has already taken place; this is when I start thinking about it. The word ‘thinking’ already tells you what it’s all about; thinking is what happens afterwards. This takes me to my studio situation, in which a collection was brought together of things to which I was attracted, and still am. This fact represents this thought.

































































































2013

2012


2011


2010

2009


2008


2007

2006


2005


2004

2003


2002


2001

2000


1999


1998

1997


1996


1995

1994


1993


1992

1991


1990


1989

1988


1987


1986

1985


1984


1983

1982


1981


1980

1979


1978


1977

1976


1975


1974

1973


1972


1971

1970


1969


1968

1967


1966


1965

1964


1963


1962

1961


1960


1959

1958


1957


1956

1955


1954


1953

1952


1951


1950

1949


1948


1947

1946


1945


1944

1943


1942


1941

1940


1939


1938

1937


1936


1935

1934


1933


1932

1931


1930


1929

1928


1927


1926

1925


1924


1923

1922


1921


1920

1919


1918


1917

1916


1915


1914

1913


1912


1911

1910


1909


1908

1907


1906


1905

1904


1903


1902

1901


1900


1899

1898


1897


1896

1895


1894


1893

1892


1891


1890

1889


1888


1887

1886


1885


1884

1883


1882


1881

1880


1879


1878

1877


1876


1875

1874


1873


1872

1871


1870


1869

1868


1867


1866

1865


1864


1863

1862


1861


1860

1859


1858


1857

1856


1855


1854

1853


1852


1851

1850


1849


1848

1847


1846


1845

1844


1843


1842

1841


1840


1839

1838


1837


1836

1835


1834


1833

1832


1831


1830

1829


1828


1827

1826


1825


1824

1823

Maastricht Institute of Arts