sort by

filter by


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




















































































































2020

Bachelor Fine Art and Design in Education

2020

Noëlle Jansen

Schuursel Jansen

Sometimes it’s difficult to comprehend what senses help return to the mind. Remembering is what makes visible. The remembrance, created, conceived, invented or saved. Clear, but also cloudy is valuable. How do we distinguish the image from the words? How do we feel at home in our own field of vision. We will notice when we get there, but are we there to stay? How we strive for that grip, the certainty and the physical, the more beautiful the uncertain, accidental but also unexpected will be. When we can get there, we have to learn to enjoy. Once we feel acceptance is there, ready to be embraced, acknowledged and identified. Here you’ll encounter what my remembrance is, was and will be. Tomorrow I have a new one, today I'm still here.

By doing this research, I can draw some interesting conclusions. While doing the research I made a poll of the words that appear in the answers to the questionnaire. Of course, each respondent is different, has different needs and wishes regarding his or her studio, but by looking for similarities between these people, I have found that respondents often search for the same in both functional and emotional areas. A studio to 'be' there as optimally as possible. By doing the research I have discovered that this fascination of mine, the space in which we work and create, also plays a role in professional art practice. By checking what I wanted to know and by applying appropriate methods for Arts Based Educational Research (ABER), I have found that through matters that fascinate researchers and then presenting them to respondents, they are here not just reacting passively. In this way they also convert their response into an active action. I am very surprised about this fact. The answers of the respondents show that, after I asked them questions, they actually started working on this. They have made the research 'their own' and have all started to think in their own way about their studio or their art practice. More than once I have received responses from the participants about changing the layout of the studio or the attitude towards the studio. Those were the presents for this study. Response that was not asked for, but simply obtained. Respondents look more consciously at their space and use it more consciously, so I can proudly say that the aim of this research has been achieved.























2013

2012

2011


2010

2009

2008

2007


2006


2005

2004

2003


2001


2000

1999


1998

1997

1996

1995


1994


1992

1991


1989

1988


1987

1986


1985

1984

1983

1982


1981



1979

1978

1977


1976

1975


1974

1973

1972

1971


1970

1969

1968

1967



1965

1964

1963


1962

1961


1960

1959


1958

1957

1956

1955


1954


1953

1952

1951


1950

1949

1948


1947


1945

1944

1943

1942


1941




1935



1929

1928

1927


1926


1925

1924

1923


1922

1921


1920

1919


1918

1917

1916

1915


1914


1913

1912

1911


1909

1908


1907

1906


1905

1904

1903

1902


1901


1900


1899

1897


1896


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

1843


1842

1841


1840

1839


1838

1837

1836

1835


1834


1833

1832

1831


1829

1828


1827


1824

Maastricht Institute of Arts