D 31
Life is dynamic, each and every day we experience something
fresh
2013/06/01
2013/05/29
2012/01/21
Flexible Man Project
Flexible Man Project
The inspiration
The population of Suriname is
like a colorful painters’ palette. The Surinamese do not all look alike, their
cultures differ, they are from different religious backgrounds. Still there is
a sense of unity in the way people deal with each other. When talking about
culture we also consider such things as the mode of dress, the way of talking,
the way food is prepared, the architecture, etc. The various cultures that were
brought together from different continents no longer stand on their own, but
they live peacefully side by side and fulfill a supportive role towards one
another. The various ethnic groups have through the years, incorporated
elements from other cultures into their own. Although it is true that not quite everything
from other groups is accepted, one of the things we do certainly share and
enjoy is each others’ cuisines. For example the roti, a specialty from India,
is a much loved food amongst almost all ethnicities. The same is true for the
beloved tjauwmin that we so often stop for at the Chinese restaurant. From the
Creoles we have adopted the moksi - alesie and the saoto soup from the Javanese
is a popular staple served at many parties. Dosi (cassava bread) is something I
saw for the First time from the Maroon vendors at the Johan Adolf Pengel airport
(Zanderij).
We can use the term integration to
refer to the fusion of different ethnicities or elements from different
ethnicities, into a new unity within society. The most significant cultural
integration can be seen in the area of language. Sranan is a language that
originated in Suriname and that has developed itself amongst the Surinamese
into a common language. As Surinamese you
need to be able to speak this language in order to be able to communicate
anywhere in the country. Sranan is a combination of especially African
languages with English, Portuguese and Dutch. Nowadays almost all Surinamese can
express themselves reasonably well in this language. The Dutch language was not
the common language of our ancestors and today it is our national language. It
is a language that was introduced by the Dutch ancestors from Europe. Today
almost every Surinamese speaks this language. Even Sarnami, a Surinamese version of the
Bhojpuri can be understood by many non-Indian people in the country.
From the moment we are Young
children we are aware of the existence of all these cultures. We learn to
respect each others’ cultures in the broadest sense of the word. The diversity
of our country can be looked upon as the whole World represented on a surface
of 162.000 km2. This means that we continuously experience and live cultural
diversity. Because of this we are not likely to experience cultural shock when
we travel to different countries. Thus I did not experience the varied cultural
compositions in large cities in Europe and in Trinidad & Tobago as shocking.
For me it was similar to the situation in Suriname.
Throughout time the strength of
our cultural diversity has developed in such a way that it has now become of
utmost importance to us. This cultural diversity is now a source of strength
that helps to go on in life, which helps us to survive. We can comfortably deal with our fellow human
beings without feeling awkward. We are not scared of being influenced or of
being outdone by our neighbors. We are accustomed to the diversity. We have
learned to deal with matters that strengthen us and develop us. This provides
and ensures the continuity of our nation.
The Sculptures
The fabric figures are inspired
by the cultural diversity of our society. These figures are made of textiles
because I was raised in an environment with textiles. My grandfather was a
tailor and my mother too. I am also convinced that the issue of cultural
diversity can best be expressed with the textiles typical for each of the
different cultures. This then resembles a colorful display, which is also
reminiscent of the gatherings of Surinamese people on our independence square
in their traditional attire.
As part of society, I have also
incorporated elements of my character in the sculptures. The soft-looking
and-feeling texture resulting from the use of textiles also refers to the
gentle nature of the Surinamese who are generally known for their tolerance and
acceptance. The sculptures stand firmly in their shoes and this symbolizes
steadfastness. There is quite a bit of movement to the sculptures which
symbolizes resilience.
The Caribbean people are indeed very flexible and agile.
They prefer to move around throughout the region. Quite often we do not start a
job on time, but we do finish it within the specified timeframe, and we are thus
very flexible with time management. We are not overly concerned with changes taking
place within a project to be implemented and take things in stride. In the
sculptures the small pieces of textile which refer to the different cultures, are
randomly strung together. This symbolizes the cultural integration.
I saw many works of artists
referring to their roots. I am of the opinion that the roots are no longer
paramount and that we should look instead at what we are today and all that we
have already achieved. That is how I came to this theme of the Flexible Man.
Flexible Man is a fabric sculpture that is a reflection of the new Caribbean
identity. This Caribbean identity can be linked to the national identity. This
can be seen as a collective identification of the Surinamese nation, that which
makes something typically Surinamese.
The Flexible Man Suit
The Flexible Man suit is a suit based on
the Flexible male sculptures. It symbolizes the cultural unity in diversity.
 |
| Flexible Man in Trinidad & Tobago |
This suit can be worn by anyone. In that case we speak of a mobile sculpture
which can move about in the space. It is a special experience to possess the
mobile version of the Flexible man, because through it I have been able to
ascertain how this sculpture conquers the space and owns it. Even if the
environment is large and imposing, his presence is always dominant. It cannot
be ignored; it holds a mysterious attraction that brings the audience closer.
 |
| Flexible Man in Trinidad & Tobago |
 |
| Flexible Man in Trinidad & Tobago |
 |
| Flexible Man in Trinidad & Tobago |
 |
Flexible
Man in Trinidad & Tobago   |
 |
| Flexible Man in Trinidad & Tobago |
Despite the fact that the people get along so
well, there is also some discord. There is discord within the family unit, in
the work environment, in the community and in politics. Human beings are
mysterious creatures.
My work tells stories that have their origins in the
daily life of people. But still they are not normal daily situations, because
in my work, the human beings now become a mystery. I have done this because
humans are to me mysterious beings. Initially they can seem sweet and kind, but
in the end they turn around and talk about you negatively. You think you know
your fellow man, but at a certain point the question arises: How well do you
truly know your fellow man? Just take a look at the people around you and consider
whether you know them well at all. The question then is, whether you can say
that you do with absolute certainty. My work is inspired more by my own
experiences, memories, newspaper articles and the internet. What now, I must after all go on living on
this planet with all these hypocrites around me. Am I capable of living amongst these people? Because
today they are like this and tomorrow they are totally different. The textile
sculptures are devoid of sensory features. Why these senses when we know that they cause
discord amongst people. Imagine a world with people that have no eyes, nose and
mouth. They could then be together based only upon feelings. They would not be
able to criticize each other etc. If we truly knew each other there would be no
jealousy, hate and no murders. The world would be quite different from what it is
now.
Special thanks to
Cassandra Gummels & Carmen Dragman
Images Trinidad & Tobago: Charles Campbell & Rodell Warner
Images Trinidad & Tobago: Charles Campbell & Rodell Warner
2011/06/23
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
Subscribe to:
Posts (Atom)