The Dutch Circle of Artists (NKvT). organized miniresidencies from Sept. 5 to Oct. 6, 2024 at NDSM-FUSE in Amsterdam. Members of the NKvT invited young artists to participate. Because the art of drawing is constantly developing and innovating, the NKvT seeks to connect with young artists and with innovation in the art of drawing. Thus was born the project GEN_T in which young beginning artists are introduced to the methods and ideas of artists who have been working as artists for some time. And vice-versa.
The artists
Nine outside artists and ten members of the circle participated in the mini-residencies. They came from all parts of the country, from Hengelo to Maastricht. In the residencies they worked with each other and exchanged their vision, knowledge and experience. This happened in the exhibition space under the eye of the visitors. The results of the working process were shown in the exhibition space of NDSM-FUSE in Amsterdam. It was about presenting work made, but also making the exchange visible.
The collaborating illustrators were: Selma Dronkers, Zela Odessa Palmer, Anna Rudolf, Gladys Zeevaarders, Jordy van den Berg, Marijke Vijfhuizen, Martijntje Baarda, Tom Heerschop, Katinka Kuipers, Wilma Laarakker, Jilles Fey, Natascha Waeyen, Freek van Zoest, Ninet Kaijser, Godelieve Smulders, Sarah Dietz, Hanna de Haan, Eline Vonk, Nanou Jacobs.
"Early in the morning, as the twilight of night gives way to morning, I get into the car. During my journey, I ask myself the question 'what am I going to do when I arrive at my destination?' The preconditions are clear: in a yard, for four days or briefly engage in conversation with another maker, someone who also uses the medium of drawing as a central element in artistic practice." (Gladys Mariners, participant)
Exciting collaboration
Most of the couples who started working together had already met each other. There was no predetermined plan for the collaboration, but there was a guide that the pairs could use to give substance to their collaboration and conversation with each other. And they were asked to record the process in words and pictures every day. Most of the duos searched for and explored each other's way of working and use of materials while drawing. Language proved important to give meaning to the process and to share feelings and experiences. In this way something beautiful could immediately emerge from the first meeting.
Recording the first day of Anna Rudolf and Gladys Mariners' collaboration: "Anna creates large powerful drawings with an intensity of linework that takes control of space. She achieves this by using different sizes of willow charcoal, thin twigs, thicker branches, sometimes crumbled and distorted. Set against bright white drawing paper united by a Japanese fan brush. Three materials that in the right hands can make a huge impact. We both long for depth, a kind of philosophical depth that transcends logic. Because the final image - the work - is more than the sum of its parts. In the gray area things happen that the eye can only recognize if the hands have experienced it."
"Your hands are not my hands, this material does not allow itself to be curbed by my hands. The black carbon swirls differently with me than it does with you."
In some cases, it took a little longer for synergy to emerge in the collaboration. Not surprising when you consider that many artists like to work alone in their studios. One of the participants said about this afterwards: "How on earth are we going to achieve a satisfying work together I wondered? The answer was to put your own ego aside and not focus on the end result but to let the process merge. Where, instead, we began to exchange and try out each other's techniques and methods." (Freek van Zoest)
That setting aside of the end result proved difficult for many participants, both the more experienced artist and the novice.
Drawing, making art, looks like making trouble
In the process of collaboration, the space that draughtsmen gave each other proved decisive for the discoveries that could be made. Some pairs kept an extensive diary describing how drawing was done, in what space, with what intent. For example:
"Drawing, making art, is like creating problems that you then have to do something with. The nice thing about working together is that the other does not see it as a problem and has solved it in no time. Third joint drawing made. Final pieces cut and added to work."(Hanna de Haan and Sarah Dietz)
"September 20, 2024: We start the afternoon by discussing how to proceed. 'Upside down' evokes fun associations, after which we decide to cut the drawings in half. On the floor are the cut-up parts. We sometimes get confused ourselves of how to hold the paper, from which viewpoint and from which draughtsman. So also "upside down" in our minds. Each one starts with a half drawing cut loose and turns it back into a complete drawing by 'gluing' a piece to it and responding to the blank sheet of paper in the right position and view. The way of responding produces conversation." (Nanou Jacobs and Eline Vonk)
"We follow the process and the work itself is leading in our collaboration.We search for that which is elusive and should remain so.In this we make use of language and abstraction and experiment with material.Our conversations about our work and all that is involved are incorporated into the making process and are part of the final result.In the search for the elusive we are not looking for answers and prefer not to have them. Our conversations about our work and everything that comes with it are incorporated into the creative process and are part of the final result.In the search for the intangible, we are not looking for an answer and would rather not find one. What can be seen in the end are byproducts of our process." (Zela Odessa Palmer and Selma Dronkers)
Curious eyes at appropriate peeping distance
The recordings of the experiences and questions in text, diary form or poster allowed the audience to share in the process. This was explicitly intended. Often there were "curious eyes at an appropriate peeping distance," as one participant characterized it, but it also sometimes led to a conversation about what was happening in the collaboration or in the work being made. The audience was also invited to draw for themselves. Sometimes this was reluctantly accepted ('but I can't draw at all') and people were surprised at their own drawing skills, sometimes people stayed at the drawing table for a long time and self-portraits or portraits of each other were drawn. These then became part of the exhibited work.
Valuable collaboration
These were dynamic days, with fun conversations among themselves but also with the many interested visitors. The participants gained insights into the field and became acquainted with other (drawing) techniques, methods and ways of looking at things.
The term "generation" did not really have a connotation during the collaboration: most participants experienced equality. For the participants - both invited residents and members of the NKvT - it also proved a challenge to break free from certain beliefs in the work. The collaboration was perceived as valuable, but considered too short by most, also in view of the desire to deliver "finished work. A sequel is in the pipeline!
"Drawing has no beginning and no end." (Günther from Cologne, visitor)
"I was also at the Rijksmuseum today and now I am here; what a relief!" (Jill from Lancashire, visitor)
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