Adjie Gilas Project
www.google.com
Adjie Gilas Project
I associate these old types of mugs or cups with adjie (paternal grandmother), because she always drinks out of these types of cups. I have decided to pay tribute to adjie during the Paramaribo SPAN exhibition since the presentation of my work will take place in her home. In a combination of two techniques: screen-printing and stamping, I have placed a portrait of adjie as an identifying mark on every cup.
I considered letting the cups hang suspended from the ceiling, but there was no real reason to do so. Why hang the cups from the ceiling? Slats on the walls were used to put small items on. These cups as well were placed on them. That is why I choose to place the cups on these slats instead of hanging them from the ceiling. Initially I was going to construct the slats of wood which was 2.5 cm x 5 cm. thick, but with those I would get a large shadow so I decided to make slats of 2.5 cm x 1.5 cm. I decided to build up my compositions based upon the existing arrangement.
Originally I was going to incorporate different geometric shapes in my installation. I have further divided some of the arrangements in five parts. By doing this I got the shape which is reminiscent of the shutters in the film.
I ultimately chose for squares and rectangles, because these shapes are symbols of steadfastness, and this I associate with the presence of my grandmother in the home. All other family members have either left the house or passed away, but Grandmother is still very much present.
This floor plan of the house inspired me to use squares and rectangles to present the cups.
Ultimate result of the wall installation. The triangles are replaced with squares/ rectangles. The likenesses of Lord Krishna and Lord Ganesha were already present in the room so I incorporated them in the project as a component adjie’s religious identity.
Wall 1 and 2 together count 340 cups. This amount was acquired by taking 4 (from the 4 sides of a square/rectangle) and multiplying this by 85 (Adjie’s age).
Adjie Gilas Installtion, TENT, Rotterdam, Netherlands
In this work I incorporated several elements of myself.
- Standing firm
I have used my shoes for this work. The shoes are filled with concrete, which lends sturdiness/ steadfastness to this sculpture. - Flexible
This sculpture can stand up to a little impact, which will cause it to wiggle to and fro with great flexibility. On the inside I wrought iron which gives the structure its flexibility. - Mild-mannered
Textiles were used to build up the skin of the sculpture. I prefer textile because it is a soft material and because of that it also symbolizes a mild-mannered character. I also grew up in surroundings where there was continuously worked with textiles, because my grandfather was and my mother is a tailor. - Colorful
The colors in the work are a reflection of Surinamese society and as such also represent a Caribbean identity which is the result of a mixture of several cultures.
You and Me
You and me, two opposites which are together regardless. Transparent glass vs. dark colored glass. You are open/ transparent extrovert, while I am closed/introvert. Glass is the most appropriate material to make this work, because it is transparent and also because it reflects a certain sensitivity/delicacy which is also the case in a relationship
Walking figure
This figure is a walking figure which is constructed from small strips of wooden scraps. This artwork is subsequently drenched in motor oil. The idea to work with motor oil came upon me as I drove past the Staatsolie (State oil) company and inhaled the stinking scent of the oil. Motor oil is made from petroleum and has a similar scent as the one hanging about the area surrounding Staatsolie. This work symbolizes the activities of Staatsolie and the scents it permeates throughout the area.
Childhood memory
As a small child I was afraid to go into this room at night. I always had the feeling that there was a scary figure lurking there. The shadow on the wall represents this scary figure.
Declining
This piece of art deals with memories from my youth and the kookraam.
In our childhood days we used the cooking window as a play area. Every corner of the kitchen window was used to play hide and seek or to hang from the window.
Sadly, this one is no longer being used and it has fallen into disrepair.
In this artwork I have organized the figures in the following sequence:
No figure
Large figure half figure
Small figure
Number 4 upside down and the turn against the clock as a symbol for downfall.
The larger figure symbolizes prosperity, and towards nothingness the figures become smaller, which symbolizes the slow decline.
Special thanks to
Cassandra Gummels
