What does the ideal artist’s studio look like? How much time does an artist spend there? Is it a sacred place? This week in 'The Artist’s studio' series: Gerben Mulder, whose duo show with Tycho van Zomeren opens on 14 May at Galerie Frank Taal in Rotterdam.
Gaat u iedere dag naar uw atelier?
Normally, I try to be in my studio most days of the week, although being absent for a few days every now and then is healthy. The bottom line is, I think, that the studio never leaves me, whether I'm actually present or strolling through a park, that space – and what I'm creating there – keeps me busy all the time.
I remember the early years in New York, around 1994, where I constantly had to take on various jobs and odd jobs just to survive. There was little time for art back then. This was quite difficult. Yet I know that even during this period – when I was regularly unable to paint for months on end and had no studio – space was always present in my head and the ideas and inspiration never stopped.
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What time do you leave for your studio, and how: on foot, by bicycle, public transport or car?
I have several options, but most of the time I go by public transport: the distances here in New York are quite long. I live next to a park, and if it's a nice morning, I sometimes decide to go on foot. This is quite a walk. I am also fortunate to have a studio in Rio de Janeiro and try to divide the time between the two studios throughout the year. In Rio I have my studio at home; I'm very happy with that place, but it often comes down to sometimes being locked up for days at a time. Sometimes that doesn't work for my production. I believe it's okay to close the door behind you at some point, go home, and then do it all over again the next day.
Do you hold on to certain rituals in your studio? Music or silence?
I mainly paint. I think rituals – and I think this goes for every artist – can also be habits, superstitions and mannerisms and these are part of a personal process. You can't escape this. This can be the way of stretching and preparing canvas, or in my case: almost never cleaning my brushes. Working on one or more works at the same time, controlled chaos and clutter. Even making a cross (although I'm not religious) before entering my studio in the hope that what I thought was genius the day before I'll hopefully still like it. Unfortunately, this is almost never the case. As far as music goes, it comes in waves. There a periods when that kind of distraction helps me, also to get into a certain mood. This varies between many styles: pop, classical, jazz, electronic, Latin, in fact anything goes, but there are also periods of silence.
As for further rituals: a lot of coffee and cigarettes. Unhealthy, I know. But that bad habit has become well ingrained over the years. I would like to give up smoking, and seriously consider it, the coffee will have to go then too. Hmm, difficult! I am probably not even aware of many rituals.
Hoe belangrijk is licht voor u?
It's the most important thing. I have never quite understood the added value of natural light for some artists. I generally find it distracting; continuous change, colour differences, shadows, etc. So I absolutely go for artificial light and like to work in the evenings or at night. People are sometimes startled by the sea of light when entering my studio.
What does your work process look like? Do you work everywhere and all the time or does work only commence the moment you enter your studio?
Coming back to the first question: my work continues almost always and everywhere. Especially when things are tough and don't work out the way I want, it can keep me awake at night. Not pleasant. I'm quite envious of artists who can separate this better, who can operate the on and off button without any problems. Maybe this is just my own perception and being able to turn that button on and off doesn't exist anyway.
Hoeveel tijd spendeert u gemiddeld per dag in uw atelier?
Long days in general, but this does not mean that I am always physically doing stuff. Sometimes there are days when I literally come to nothing. I do believe that being present in the studio, even when nothing happens, is important. It's part of the process. Especially when I'm nearing a deadline it all boils down to the moment that everything has to come together and the days and nights are sometimes long.
Is your studio a sacred place?
I think sacred is overstating it a little bit, but my space is certainly my sanctuary. It is a place where most of my life takes place. Joy, sorrow, ups and downs, it is where everything happens and comes into being.
Do you receive visits there; collectors, curators or fellow artists?
Definitely. It's not as if I have people visiting my studio every day, I prefer not. Some fellow artists or good friends I have no problem with, sometimes I find it quite helpful, for example when I'm in the middle of a project. Some feedback can’t hurt. Distraction can also occasionally generate inspiration. Sometimes I spend hours toiling without a clear vision, the phone rings and it has occurred that I complete the whole painting in a few minutes while talking about completely unrelated matters.
As for curators and collectors; these are absolutely welcome, preferably just before an exhibition, when a large part of the work is in the final phase, or has already been completed.
That probably has to do with uncertainty, I often don't know where the work will eventually go just before it is finished. It has to do with the way I work and how my paintings are created. The work is layered and is often painted over several times. Sometimes, when I think I'm close, I turn the whole work into a totally new image moments later. The final image is then created fairly quickly, but the whole process takes longer.
What is the most beautiful studio you have ever seen?
I’ve seen quite a few great ones. Generally speaking, I am happy where I am at. Also, the space itself is not the most important, but rather what you get to see in it. In that respect, I can make a list of studio visits of other artists who deeply moved me. In the Netherlands this used to be Gijs van Lith's studio in Den Bosch, he has now moved to Eindhoven, I look forward to visiting him again. In Berlin, this was not so long ago, with Bram Braam. In Amsterdam with photographer Bart Julius Peters. Arthur Mulder, who produces assemblages and collages from his studio in Hoek van Holland. Here in New York: Stephen J. Shanabrook, Sebastiaan Bremer and Janaina Tschappe.
What does the ideal studio look like?
Spacious, high ceilings and no neighbours. Maybe somewhere remote? But then again, I can't complain.