Suzanne Adelmeijer

In my work I play with (distorting) perspective. Perspective is something personal, ambiguous and based on assumptions. What I see is inherent to what I expect to see. My works are a reaction to questioning these assumptions of my own and how they constitute the way I look around me.

The works shown in my graduation show are a visualisation of this play between expectation and perception. In this show the interests explained here, above, play out in the themes of covering, 2D/3D and the mundane. You could see it as a collection of works which can each stand on their own. Together they represent the “backside” of my assumptions.

Self-portrait, 2022 | Glazed ceramics | 50 x 45 x 42 cm

Reserved

Self-portrait

I was fascinated about how I am not able to see myself, other then when looking in the mirror, or at pictures. When I look in the mirror, I know I am looking at Suzanne. But a mirror is merely a reflection of reality. I concluded that the only way to really see myself would be to look down at my feet. I realized that from that point of view, my body looks very distorted. Somehow I “know” my legs are long, but from above I cannot really see this. With this work I wanted to make a sculpture of my body, only using the logic of what I can see when looking down at it.

Painting of a cloth

A painting was painted in a time before the present. In a painting, time stands still. A canvas is flat, but the idea of space can be painted onto it. I know that I am looking at a flat surface, but I accept the trompe-l’oeil. To me, a sculpture exists in the present. So what happens if I use the logic of painting, onto this 3D shape? Why do I accept a shadow in a painting, but when painted onto a sculpture, I find it to be fake?

Painting of a cloth #2, 2022 | Ceramics, Gouache paint | 43 x 27 x 26 cm

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Three cloths, 2022 | Fabric and glazed ceramics, tape, nail | 34,5 x 20,5 x 5 cm

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Painting of a cloth #1, 2022 | Gouache on canvas | 100 x 70 cm

Suzanne Adelmeijer

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Three cloths on a kitchen stool, 2022 | Ceramics, plastic and fabric | 93 x 36 x 39 cm

Suzanne Adelmeijer

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Three cloths on a kitchen stool

All these objects, exept for the stool, portray a cloth in their own way. Some because of a recognizable print, some because of structure. They are covering each other. But at the same time, because of the materials, it becomes more stacking each other. Which of the objects is a cloth, but then which one isn’t?

Vase and mirror

One of the roles a vase has in our perception of it, is the vase that tells us the story of history. This is because ceramics can often whithstand the test of time. I find it interesting that, to me, something historical has legitimacy. The shape I know to be of a vase is not corresponding with this shape. It is not round and the top is not open. It becomes merely a shape that reminds me of a vase but in which my expectations are not reciprocated.

The story is only to be seen through the reflection of the mirror. Does this mean that you ever really saw it? Should you accept the strange shape, seen from the front of the work? Or will you focus on the reflection, and fantasize that this is actually a vase as you know it?

 

Vase and mirror, 2022 | Glazed ceramics and mirror | 42 x 19 x 9 cm

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Hand-Pot, 2022 | Glazed ceramics | 66 x 47 x 35 cm

Suzanne Adelmeijer

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Sculpture, 2021 | Ceramics | 49 x 38 x 57 cm

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