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













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.






















































































































































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