From sunday 9 April, we have a new exhibitor in our exhibition room. Eva Crebolder will show her collection this month. Curious about this designer? Today an interview with Eva Crebolder.
Could you give us a short introduction on your work. Where did the idea come from? What is the story behind it?
The ‘bouncing’ series, emerged from a paradox, the apparent contradiction between being soft, as fabric and gum, and the firmness of baked porcelain. Just as life has a lightness and heaviness sometimes exciting and uncertain. I look for that relationship between the unstable and the stable.
By beautifully composing the two, the silence and noise become unified. I love to use small and ordinary things as a basis for my products. For example: Taking elements of daily life and converting them in a playful graphic manner, like the cooking stove which I converted into tiles.
Clay and porcelain are the materials I usually work with at my studio based in Amsterdam and in China.
Who/what has been of great influence on your way of thinking?
I was impressed by the walls covered with tiles designed by Alvar Aalto at the Finlandia Hall in Helsinki. I found this “sensitivity” he gave the building enchanting. Southern countries, such as Morocco, can make you feel happy when walking across beautiful tiles with your bare feet or stroking the wall. This inspiration is how I make ceramic tableaus for architecture and buildings, in both public and private spaces.
In the work of Agnes Martin I admire the subtlety and nuances of horizontal and vertical lines. Especially the silence that the work evokes and the tiny stutter of pencil lines and the aquarelle paint.
In the work of Franz West I enjoy his appropriation of shapes, such as couches and other furniture in the Bonnefanten museum — they all have something clumsy and body-like about them.
My work also relates strongly to the Wiener Werkstätte from the early 20th century. This group sought new forms and relationships with great attention to craftsmanship. A movement to admire.
Who/what fascinates you and how does this influence your work?
I’m a kind of whirlwind, trying to process everything that enters my thoughts. Currently, the cross-over of cultures, history and materials fascinates me, functional and non-functional.
I thought about my childhood, growing up partly in Africa. The snuff boxes, stools and pots, which were the essence of life in the hut. Grouping my work as you would see in an African hut combined with materials from China, and my European and American background.
An African board game becomes unrecognizable, a table with holes and fits wonderfully well in the densely built living space, but conveys lightness even though it’s furniture.
The “bouncing vases” also have lids, so you can use them, not only as vases but also as pots, where you can store secrets, and everyday things, such as pens, scissors, paper and herbs. You can change an objects function when you experiment with different materials. I like to group and make installations of my work, to generate an exciting atmosphere.
Imagine you could be someone else in another lifetime, who or what would you want to be?
If I could be someone else in another life, I would be someone like Miuccia Prada or Agnes B. They both have built empires with a fashion label from which they have had great influence on the fashion, art and design world.
What is your favourite spot at home?
My favourite place is the kitchen where you have a beautiful view of the garden, but there can also be a lot of noise from guests and family members. I also like to visit my studio around the corner where it can be wonderfully pleasant and quiet.
What comes to mind when you hear the word ‘Treasure’?
Treasure is like a child looking for tiny stones in the shape of hearts. Or, in my case, my idea and shape comes out of the kiln as a well formed pot.
Describe yourself in three words.
Observant, creative and sensitive