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We Will Survive - Limited Edition 1 of 8 Photograph

Othilia Verdurmen

Netherlands

Photography, Color on Soft (Yarn, Cotton, Fabric)

Size: 47.2 W x 31.5 H x 0.8 D in

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$1,960USD

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About The Artwork

Coloured abstract photography, presented with an epoxy layer. Deriving from physically created structures, an imaginary landscape emerges, inviting the eye to wander along foreign treasures. We Will Survive New life swarms everywhere. Harbours unexpected, humming along.

Details & Dimensions

Photography:Color on Soft (Yarn, Cotton, Fabric)

Artist Produced Limited Edition of:8

Size:47.2 W x 31.5 H x 0.8 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I was born in Groningen, the Netherlands, in 1962. I grew up as the second daughter of a family with four children. I soon came into contact with textile because there was plenty of it lying about our house as a consequence of my father’s profession. Even as a young girl I had a strong feeling for the material because I believed that anything made of textile could not be broken and because I wanted nothing more than to act out my imagination with various fabrics. My mother had a whole chest full of cloths made of all kinds of fiber. Even her wedding dress was in this chest and it was subjected to a snipping session for a theatre play. Sometimes my father arrived home with a suitcase from which a minor wonder would emerge. Suddenly the floor was scattered with samples, colours and patterns. Then the stories began. Distant journeys, other cultures, exotic food. In this way, a piece of cloth became the fabric of a story. Full of excitement and expectation I would touch it, as if I myself were also in that other world. Occasionally I would find a small error in the soul of the fabric, in the embroidery, or perhaps a slight colour deviation in the pattern. Human hands had made it. That fired the imagination. I attended grammar school where I first came into contact with mythology. This has remained a nutrient medium for my work, which has always been related to stories. I discovered the true significance of batik patterns, wajang, African masks, and art – Paul Klee, the Bauhaus and other art movements. A route began to open up to me. In this period I saw the Triangel Figurentheater for the first time, a surrealistic puppet theatre presented by Henk Boerwinkel, which enjoyed worldwide acclaim. This left a deep impression on me. After all, textile couldn’t simply come to life spontaneously? I have never forgotten this performance, but it still took some time before I found my own way. I went to the Academie voor Expressie en Communicatie (AVEC) in Leeuwarden in 1981. I wanted to work with people. At the Academie I experimented with costumes, puppets, Commedia dell’Arte, masks, movement and theatre. Pina Bausch was one of the people who inspired me, and I visited her in Wuppertal to study the effects of theatre in which personal motives are interwoven. After graduating, I contacted the Pop en Spel Kollektief (Puppet and Play Collective), a professional theatre company. Yvon Hofer educated me in the practical aspects of puppet-making.

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