07 december 2022, Oscar van Gelderen
The studio of... Sjimmie Veenhuis
What does the ideal studio look like? How much time does an artist spend in his studio? Is it a sacred place? This week in 'The artist’s studio' it’s Sjimmie Veenhuis, whose show ‘Interlaced’ is on display at Galerie Helder until 31 December.
Do you go to your studio every day?
Definitely! From a young age, I have been used to working on the weekends through side jobs, so I also work on those days. Gladly even, because then I'm often the only one in the building and I can turn my music up a bit. I combine days off as tactically as possible with social appointments, so that I can work as many effective working hours as possible.
What time do you leave for your studio, and how: on foot, by bicycle, public transport or car?
By bike. My studio is located just outside the city, so that's a nice way to literally and figuratively bring myself to a state of activity every day. In addition, the transition from city to outside also provides the mental headspace for fresh ideas and thoughts. Usually, I start from noon and work until late in the evening or into the night.
Do you keep to certain rituals in your studio? Music or silence?
Absolutely! Music is one of the most important elements in my life and work. I play drums and fanatically collect music on vinyl. Fortunately, I started at a young age, so I now have a collection that I am very attached to. I've managed to get my hands on almost everything I like. I prefer to work late into the night to be able to enjoy this at a proper volume. Being outside the city is also an advantage in that respect, because if I crank up my records no one will be bothered by it that late. I am convinced that music – by involving it in my work in this way – has a considerable influence on my choices in the creative process. I like listening to repetitive music, especially certain genres, such as Krautrock, Postrock and Progrock. I like challenging compositions. The last few weeks I'm totally into The Mars Volta, because I own all their records and have always listened to them, their new record has sparked that all over again.
How important is light to you?
Daylight does not necessarily play a role in making the compositions, unless I have devised an installation for a specific location, and I have to build something on site, or want to take photos of my work. Then it can be essential to properly direct the right circumstances in terms of light.
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?
A large part of my work is not so much about making, but mainly about looking. Both during the performance itself and in the period surrounding it, taking a distance and looking carefully is very important and time-consuming. For that reason, the most active WhatsApp group I use is one that only I am a member of. That way I can take my work home in the state I left it in my studio, and thus keep looking everywhere while I'm in the middle of something. In addition, studying my environment is an essential part of my type of work and looking is not limited to my work itself. In fact, I discover almost all my compositions on the street. Both the materials I work with and the visual solutions I find with them are often literally there for the taking, even outside my studio.
How much time do you spend on average per day in your studio?
It depends. On days that I'm really productive, it can be over twelve hours. Of course, I take breaks to connect with my body in a mindful way, to see how I feel, and if things go against me, I can also choosing to end earlier than planned and save my energy for a better time. On such days I like to make arrangements with people, because that day is already a 'lost' working day. Conversely, I can be very fickle for my environment socially, because I prefer not to end a good working day early..
Is your studio a sacred place?
No, not at all. Everyone is welcome to come by and shine a new light on what I'm working on, or put on a good record from my collection that I haven’t noticed for too long. In addition, as I said, a large part of my work takes place outside my studio; I must be able to do both the looking and finding solutions as well as installing my work anywhere.
Do you receive visitors there; collectors, curators or fellow artists?
Especially fellow artists, I have dear friends who know that I really appreciate it when they approach my work with honesty and no filter. Everyone sees something different and it is very nice to have people around you who are willing to genuinely want to help you on your way. These people are very important to me!
What is the most beautiful studio you have ever seen?
Wow, that's a tough question. Just as I find it difficult to objectively assess my own personality and try not to compare it with others, the same applies to my studio in relation to that of others. I've seen enough studios that I like, or that were beautifully decorated, but I couldn't qualify any studio specifically as 'the most beautiful'.
Big Art, Bijlmerbajes, 2022
What does the ideal studio look like?
As big as possible! Allowing me to work on as many ideas and projects as possible at the same time, without them getting in each other's way in terms of space. I never have enough space.
Opening 'Interlaced' Galerie Helder
