18 may 2022, Oscar van Gelderen
The studio of... Susanne Khalil Yusef
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: Susanne Khalil Yusef, who currently has solo exhibition in the Noord Brabant’s Museum. Her work can also be seen at Art Rotterdam (Prospects), OBJECT Rotterdam and in the Valkhof Museum in Nijmegen.
Do you visit your studio every day?
I prefer going to my studio almost every day. More often than not, that doesn’t happen, as I spend a lot of time in other locations, for example in places where I have work carried out or in areas where I am going to exhibit my work. Sometimes I also work at other locations, such as at a foundry in Limburg, in the textile lab of the TextielMuseum in Tilburg or a glass studio in Friesland. A few weeks ago I returned from a research residency in Leeuwarden. When I install my work for an exhibition, I usually work on location for a week.
For an assignment for a work of art in public space, I have spent a lot of time in the Schuytgraaf district in Arnhem where the work will be located.
Since graduating from the art academy in 2018, I have had several studios; the first one was an anti-squat in an old car garage, where it was cold, dark and damp, but nice and big, and in a central location in Arnhem. It was quite dirty there, so I first spent a month removing and cleaning waste, but I often find very nice things in those kinds of places. For example, in a shed outside all kinds of wooden boxes were stacked on top of each other. It turned out that advertising light boxes had been stored in the boxes. I later used this for my own work.
Susanne Khalil Yusef, Studio, 2020, photo Jorik Amit Galama
Later I ended up in an old primary school in a suburb, but I soon had to leave. At times, having to move to a different room every six months was very unpleasant, because it takes a long time for me to get used to a new room, to be able to work well in it. My current workspace is located in a place where electrical tests were done in the past; I found the weirdest things there, such as super nice bolts and an endless number of beautiful gas taps. I got rid of those, because I can't and don't want to keep everything that is beautiful.
Susanne Khalil Yusef, Studio, 2021, photo Sven Scholten
I have been at the same location for about 2.5 years now. I rent several spaces here; studio, storage, and I recently set up our own exhibition space with colleague WONNE, which we also use as a workspace between exhibitions. This space is called Yusef's Schwärmer. All these spaces are right next to each other in a beautiful green park with plenty of outdoor space. Here I really relax, and I can focus on my work.
This wonderful tranquillity will only be short-lived, however, because next summer I will travel through Friesland with an SRV bus as a driving studio, at a maximum speed of 25 km per hour. And after that I will go to the Rijksakademie in Amsterdam for a 2-year residency. First, I'm going to Maastricht for at least a week next month to install for the Limburg Biennale: I'm really looking forward to that. Also, in Maastricht you can also have super tasty food.
What time do you leave for your studio, and how: on foot, by bicycle, public transport or car?
I prefer to go by bike or on foot, however too often I am in the car, because I have to drive to other locations in the Netherlands or have material in the car. In very busy times – when I work with assistants – we start at ten o'clock.
The days that I come by bike, I am in the least hurry and I enjoy working. Then I'll be in my studio around 11 a.m. and I like to stay there until dusk, because after that it gets too creepy for me.
Do you hold on to certain rituals in your studio? Music or silence?
In the beginning I always had the German radio on, I could barely receive it, and sometimes it rustled when I walked by. It was a vulnerable connection that I held on to. I grew up in Germany and German gives me a Heimat feeling. The German radio – where there is a lot of talk about politics and society – started to annoy me more and more. Especially the negative and simple way in which Arabs, Palestinians or the situation in Israel are reported is appalling.
These days I have an MP3 player on which I've been listening to a lot of delicious Native Soul Amapiano lately, or to experimental lo-fi with sick beats and raw, screaming Brazilian drill of people who are out of breath. And with 128GB of music on my MP3 player, I'm fine with many personal classics. Lately I also enjoy the silence when I'm working, especially now that the birds are whistling so beautifully again. It depends on my mood.
Susanne Khalil Yusef from the front while installing her work in the Valkhof Museum, 2022, photo Azil Sretlow
Susanne Khalil Yusef, Working in a Foundry, 2022
How important is light to you?
I really like spaces with direct sunlight. I have this in my main studio, where I always have the windows and curtains wide open. Knowing that two beautiful camels are grazing on the lawn opposite my studio makes it even more beautiful and inspiring to look outside.
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?
I deliberately do not have internet in my studio. That's where I work. I also prefer to put my phone on silent. In other places like home I work on everything else like emails, shopping, administration and video conferencing.
I have had a large ceramic kiln for six months, and since then my ceramic work has become much bigger. Usually when I go to my studio there are works that I can work on further. Lately I've been needing more and more assistance to get work done on time or to be able to move it at all.
I have had a large ceramic kiln for six months, and since then my ceramic work has become much bigger. Usually when I go to my studio there are works that I can work on further. Lately I've been needing more and more assistance to get work done on time or to be able to move it at all.
Recently, I produced 40 large woollen tassels in the Textile Museum in Tilburg that should come to the bottom of my tapestry. It has been hung there for the last four months before production, because it was tufted by hand, that is making a long pile carpet by hand. It was a last-minute decision that tassels should be placed at the bottom. I looked on YouTube how I make such a tassel, and decided to quickly make it on the very last possible day. To work in a public place where visitors come and have a conversation with you is fun but also complicated, it was sometimes difficult to close myself off and I sometimes lost count or turned my brushes crooked. In addition, it was also a race against time, just after closing time I was finally done and I had finished all 40 brushes. The rug with the tassels can be seen in the Noord Brabant’s Museum from this week.
How much time do you spend on average per day in your studio?
On average it will be an hour or so. In practice this differs enormously, sometimes I'm only there for an hour to sometimes twelve hours. Sometimes I go home and intend to come back later, but most of the time I can't because at home I often get involved in all kinds of other things.
Susanne Khalil Yusef, second studio, at home, while studying at art academy, 2015
Is your studio a sacred place?
I relax there and feel comfortable and safe. I can leave the outside world behind if I want to, and lose myself in the work I make. Windows open, phone on silent, birds chirping in the background, and in between sitting for a while in a warm sunbeam that shines directly on my bench.
Do you receive visits there; collectors, curators or fellow artists?
Yes! I get a lot of studio visits from conservators, curators, gallery owners, writers and colleagues. I like this a lot! I enjoy receiving people in my studio and enjoying delicious coffee and treats together. It also happens that I make such appointments at exhibitions of my work, such as during the installation of my work in the Valkhof Museum in Nijmegen.
My main studio is in an old office housing about six other studios. I regularly chat with colleagues from the building and sometimes we drink a cup of coffee.
What is the most beautiful studio you have ever seen?
For various reasons by the studios of Norman Trapman, WONNE and Henk Visch.
Norman has this beautiful large hall in the middle of a typical flat Dutch landscape with lots of greenery and fields around it in Nieuwveen. It is wonderfully secluded, and he and his partner also live in this lovely bright hall, surrounded by large ovens and beautiful work. The hall is large, uncluttered and warm.
WONNE's studio is located in the middle of a beautiful park in Arnhem; there are dozens of studios here, but WONNE's is a dream space. This is mainly because of the location and outdoor space. The small building is situated on a huge lawn, surrounded by trees and shrubs. Throughout the spring and summer there is something blooming and you can hear the drumming of woodpeckers. At dusk, a family of badgers emerges from their den. During the day it teems with birds of all shapes and sizes. Once I saw a white owl. A while ago he found a baby grass snake and another time I saw a pine marten walking. There are so many wild animals in this park and at the same time it is centrally located.
Henk and Irene's studio is located in an old factory in an industrial area, not far from the centre of Eindhoven. Every time we walk there it seems a bit like a maze, Irene's library, Henk's workspaces. Full of beautiful works by themselves and others. They also live in this beautiful property. A true dream.
Hoe ziet het ideale atelier eruit?
Ground floor, large doors, outdoor space, sunlight, within cycling distance, camels just a few feet away.