01 august 2023, Wouter van den Eijkel
The studio of... Eliza Pepermans
The still lifes of Eliza Pepermans depict everyday scenes. Seemingly simple representations such as a table with a vase of sunflowers or a coffee pot on it. For Pepermans, the ingenious simplicity of the still life forms the ideal playing field to investigate formal aspects of painting: composition, colour, form, line and tactility. “We dive into a world, isolated from time and space, where the longing for eternal summer prevails.” Her work can be seen until August 5 in the summer exhibition You can not keep summer from coming back at Schönfeld Gallery in Brussels.
Where is your studio and what does it look like?
We’ve been living in a high-rise apartment in Antwerp for several years. It’s spacious and bright, with a lot of open space and views of the central railway station and city. At the back of the apartment are two rooms, one of which has been set up as my studio. It’s very modestly furnished with only the necessities: a wooden work table, a chair, a metal workbench and, most important of all, lots of natural light. I mostly sit at the work table, which is where I draw and paint, with brushes in glass jars and tubes of paint together with rags, pencils, rolls of tape and newspaper. In other words, all the painting essentials. Often accompanied by a cup of coffee, paper to sketch ideas and some books. The metal workbench serves more as a 'storage space' for cans of turpentine, canvas rolls, large sheets of paper and wooden frames. I use the workbench for preparatory work before painting: to stretch canvases, put the frames together or mix colours.
All my work is stored in the living room, hallway or bedroom, so the entire apartment is full (but in an orderly manner). To me, a studio is a place where I can hide from the outside world and all its distractions. I only allow a few people into my studio, so everything happens 'behind closed doors'.
What makes a good studio for you: natural light, lots of space, adjacent greenery or colleagues in the area?
In the summer months, I usually draw outside. I go to remote, natural environments and settle down at a table with my drawing materials. The wonderful beauty of nature brings peace and quiet, which allows me to concentrate fully. I then lose myself completely and can draw without interruption for days. Afterwards, I take my drawings – of scenery and objects – inside to continuing working in my studio during the winter. So, yes, ideally my studio would be in a greener environment.
Having colleagues around is incredibly inspiring. Unlike remote places in nature, the city is a stimulating place where cross-pollination can take place. I find it enriching to visit colleagues' studios to discover the creative process 'behind the scenes', leaf through sketchbooks, discover other materials, see new references and influences hanging on the wall, engage in conversation, share experiences, etc.
Eliza Pepermans, Red jug and coffeepot, 2022, Schönfeld Gallery
What would be your ideal studio?
If I were to let my imagination run wild, my studio would be somewhere in the south of France or northern Italy in a 16th century villa on a mountain in a small charming village surrounded by nature and (art) history and with expansive views. I imagine something like Villa Albergoni (from the movie Call Me by Your Name): a house with history, wooden antique furniture, surrounded by peace and beauty, a gentle breeze blowing through the grand entrance, the essential piano and a fireplace in the sitting area.
In one of the rooms of the house – the one with the best views, of course – I would make my studio, also with simple furnishings: paint, a chair, paper or canvas, some books and a coffee maker.
Your work can be seen through August 5 in You can't keep summer from coming back, the summer exhibition at Schönfeld Gallery in Brussels. Which works of yours are on display and why these ones in particular?
There are three still lifes on display in the summer exhibition: two oil paintings and one large drawing. The number of objects that can be seen in the images is always very limited:
a vase with sunflowers, the table on which the vase and other objects are placed and a window in the background. I think the ingenious simplicity of still lifes and everyday objects offers the perfect playing field to investigate formal achievements: composition, colour, form, line and tactility. We dive into a world, isolated from time and space, where the longing for the (impossible) eternal summer prevails. The rich and intense colours of the paintings emphasise the warm atmosphere: shades of ochre create a sense of dreaminess and contemplation. The southern light shines brightly, while the honey-like undertone is soothing and softening.
In contrast to the paintings, the large drawing is a black-and-white image and continuation of the small preliminary studies made for the paintings. The solid black contour and occasional underlying areas of colour make the search for formal simplicity very clear: the eye reads the pronounced shapes and the brightness increases the impact of the image. More than with the paintings, you feel the melancholic character and serene contemplation – for a viewer, there is a continuous balancing between optimism and melancholy or unfulfilled desire.
There is also symbolism in the choice of simple household objects. The sunflowers are the ultimate symbol of the southern European summer, the entire staging feels optimistic, the images radiate an unmistakable and intense zest for life. Caroline Pauwels – curator of the previous edition – was bursting with that same optimism and abundant energy, which she generously shared with everyone around her.
Eliza Pepermans, Vase with Sunflowers, 2023, Schönfeld Gallery
You have a naive yet flamboyant style and mainly draw and paint objects from your immediate environment. How did you discover that these subjects were a good fit for your style?
After working intensively for several years for newspapers and graphic agencies, I missed 'free' drawing, disconnected from an assignment or end goal. One day, my boyfriend gave me a self-bound sketchbook – it was truly beautiful – and I wanted to use it to take up drawing from observation again. As I sat in my kitchen and didn't know what to draw, I turned to the fruit bowl in front of me. That same fruit bowl has filled the entire sketchbook and at that moment, still lifes and drawings from perception turned out to be the perfect way to regain freedom and wonderment in my artistic practice.
A year later, we were on holiday in Burgundy and the house had an eclectic collection of antiques in the living room. I ended up drawing the entire collection, which later became the starting point for my first solo exhibition. Since then, still lifes and summer are at the heart of my work.
You’ve also worked for various newspapers and magazines. How was that work different from what you now do?
The work process is much more in-depth now. I can take the necessary time to experiment, retake images, test out materials, do colour studies, look up references, etc. When you’re working for a client, it’s not always possible to search or test. Instead, there is often a strict deadline, which means you end up repeating yourself. Now I decide everything myself: what and how I want to tell something, how I organise it, where or when I show it. But this considerable freedom also requires perseverance and dedication.
Eliza Pepermans, Three sunflowers, 2022, Schönfeld Gallery
Are there any projects you would like to carry out but have not been able to due to lack of time, money or space?
My notebook is full of 'notes' and ideas that I want to try out but haven’t yet, mostly due to a lack of time. For example, in recent years, I’ve made a collection of landscape drawings I would like to do something with. But I am also very curious about how the translation of the objects from my paintings into three-dimensional objects might like.
What are you currently working on?
I’m currently working on a new series of still lifes, both paintings and drawings, which will be shown in the autumn of 2023. The next project is a group exhibition at the Kasteel van Poeke (Biennale of Contemporary Art). Together with a few young colleagues and established names, our work is being shown in the beautiful historic surroundings of the castle. A few weeks later, the third edition of A Pro Pot is scheduled, a group exhibition curated by Trees de Mits that will be held at the Mudel (Deinze). There are also a few art fairs planned, including ArtonPaper (in Brussels) and Luxembourg Art Week. A full agenda, but all great and challenging projects.
Eliza Pepermans, Book and cherries, 2022, Schönfeld Gallery
