This exhibition presents the result of my two-year research into the evolving role and position of 3D physical and digital modeling in ceramics. The study places particular emphasis on their mutual dependency, complementarity, and interrelation through musical algorithms.
The work consists of three floor-to-ceiling ceramic columns, each translating variations of La Folia. Musical elements such as – note sequences, rhythmic subdivisions, and intervals of silence are inscribed onto the ceramic surfaces, which serve as canvases where temporal and rhythmic experiences are rendered tangible.
The work explores the intersection of disciplines using ceramic technology as an overlapping study that opens up new possibilities for oral traditions, storing and storytelling.
The exhibition explores makership by inviting artists to reflect on their practice through works and video interviews. It highlights how making can connect with ancestors and cultural heritage, while also offering space for recovery, commemoration, and belonging. The exhibition engages with museum collections, fostering reflection and dialogue. Group exhibition alongside artists Amy Suo Wu, Chequita Nahar and Hatutamelen.
Curated by Erdogan Aykaç and Venessa de Gruijter.
I have developed this work through a long-term study of parametric programming and through close inter- and cross-disciplinary collaborations. I worked with musicians Burcu Ramazanoglu and Ania Katynska, engineer and programmer Peter Eigenraam and architect Elmar van Cleynenbreugel.
