On the occasion of the publication of his book "Deciphering the Artist's Mind", Berend Strik made a special edition of 50 hand-stitched, unique copies (numbered and signed by the artist). The artwork is presented together with the publication in a specially designed box. Both the box and the publication were designed and signed by Irma Boom, the book is also signed by her. The publication contains a selection of the works created on the basis of Berend's studio visits. Each visit is introduced by Marja Bloem (senior curator) and is accompanied by a text.
About the ‘Deciphering the Artist’s Mind’ project
For his project 'Deciphering the Artist's Mind', Berend Strik (Nijmegen, 1963) investigated the relationship between the physical, creative space of the artist (the studio or the workshop) on the one hand and the ideas and works of art that arise in those spaces on the other. To this end, he visited dozens of artist studios around the world for years: from the American Vito Acconci to the Indian Bhupen Khakhar and from Martha Rosler to Henry Taylor. He talked to them about artistry and took hundreds of photos of their studios, which he in turn incorporated into the artworks that resulted from such a visit. It is remarkable that he often added small mementos, notes and photos to the back, so that the recto and verso are connected by an extra layer of stitching.
The myth of the studio
The project began more than a decade ago with a visit to Marcel Duchamp’s Manhattan studio Manhattan; an architectural space whose purpose has changed over the years, but the memories of which are still vivid. Afterwards, Berend also visited the studios of artists such as Jackson Pollock & Lee Krasner and John Baldessari, in addition to the performative space of Melati Suryodarmo and the conceptual spaces of James Lee Byars and Francois Boucher. He photographed these spaces to enlarge and print them once back in his studio. Berend then worked the surface with stitching and loose threads and applied tactile fabrics to accentuate certain parts and thus create a new image. Through this stitching and application techniques, which he adds on the basis of his personal interpretation, Berend shows how you can transform a certain image or memory into something new. Consequently, the myth of the studio, as the original place of creativity, reaches beyond the boundaries of physical space. Thanks to Berend's project, we now know that a visit to an artist's studio can lead to new ideas and works of art: on the one hand by deciphering the brain of the artist whose studio you are visiting and on the other by deciphering the original place and ideas, such as Berend does, to make a new image of it.
Why the project "Deciphering the Artist's Mind"?
I believe that a work of art never stands alone, but that there is always a connection with a certain artist or a work of art that you know, consciously or unconsciously. With my project 'Deciphering the Artist's Mind' I tried to map out for myself how something like this actually works. I tried to take it as far as possible by visiting the studio of the artist and talking to them about their artistry. I am interested in the question of how something can arise from nothing. The mode of thinking, which takes place in the studio, creates works of art. That's the magic. That is what makes an artist.
Then I figured out how to connect someone else’s artistic brain with my own by literally adding layers to an existing photo of a (detail of a) studio by stitching over it and adding fabric to it.
What is your fondest memory of all the artists you met and spoke to for the project?
I have countless great memories and anecdotes but one that has stayed with me especially has to do with a visit to the gallery Luhring Augustine in New York. There was a group show with work by, among others, Martha Rosler. A feminist artist from the 1970s who I admired very much. Not least because I had a very feminist stepmother so I was quite familiar with the phenomenon, which may well be the reason why her work touched me so much. Anyway, I actually wanted to visit her studio for my research, so I left a note with my name and phone number with the lady at the desk. I actually assumed that as soon as I turned my back that note would end up in the trash.
Also, because some artists are very difficult to approach, and many artists can better use their time for current projects and the like, I myself often have a lack of time. Much to my surprise three and a half months later I received an e-mail from Martha Rosler inviting me for a cup of coffee. I was very impressed with that.
My appointment with Vito Acconci also started very funny. I arrived too early at his studio in Brooklyn and then decided to go to the supermarket on the corner. There I saw a man walking with a shopping basket that looked a lot like Vito and filled the basket with tasty things. I pretended not to know him and when I later entered his studio I was confirmed: it was him because the most delicious drinks and food were displayed on the table. Incidentally, that visit lasted from 11 am to 3 am at night because we were still eating and going out extensively, etc. An unforgettable experience.
Can you explain what the photo "Deciphering the Artist's Mind" looks like?
It is a photograph, a 28 x 28 cm C-print to be exact, that I took of the back of someone's head and of which I accentuated the movement of the hair with hand-applied threads in a brighter colour. With this I make connections between an existing, realistic photo and a new, abstracted image.
What are you working on right now?
I am currently working on a series of drawings resulting from Deciphering the Artist's Mind.
In doing so I try to investigate what is going on in my mind, which on the one hand is fed daily by the zeitgeist and on the other tries to get a grip on the realization of new drawings that arise from what comes to mind by simply going to my studio every day. For example, I collect some information at home while I read a book and while I go to the studio I think about it. This series of drawings is an experiment to investigate other areas. For example, on 23 January last I projected a selection of 50 drawings on one of the walls in Paradiso while the soprano Lies Vandewege sang as if these drawings were a "libretto". Of course, we had rehearsed a lot for this!
What are you working on right now?
I am currently working on a series of drawings resulting from Deciphering the Artist's Mind.
In doing so I try to investigate what is going on in my mind, which on the one hand is fed daily by the zeitgeist and on the other tries to get a grip on the realization of new drawings that arise from what comes to mind by simply going to my studio every day. For example, I collect some information at home while I read a book and while I go to the studio I think about it. This series of drawings is an experiment to investigate other areas. For example, on 23 January last I projected a selection of 50 drawings on one of the walls in Paradiso while the soprano Lies Vandewege sang as if these drawings were a "libretto". Of course, we had rehearsed a lot for this!