07 november 2023, Wouter van den Eijkel
The studio of... Tom Kraanen
When it comes to studios, painter Tom Kraanen is ‘ruined for life’. Although the smell of oil and gasoline still lingers, the old garage with high ceilings and abundant natural light is, according to him, nearly impossible to surpass. But, unfortunately, Kraanen will have to leave it soon. He has already found a new place, once again in an old garage.
Kraanen (NL, 1990) is self-taught and began exhibiting figurative works while studying medicine. He has since transitioned to abstract art. "The figurative style was too confining. As I delved into abstract art, I found myself able to work with greater freedom and association," he explains. Over the past few years, Kraanen has also worked regularly on commissions for major fashion houses and magazines like Vogue and Diesel. His independent work is currently on display at Josilda da Conceição as part of a duo exhibition together with Denitsa Todorova entitled Carbon Chroma.
Where is your studio and what does it look like?
My studio is in an old garage in Amsterdam Noord on Korte Papaverweg, a fantastic location. The street is lively due to (temporary) food-related projects and I often have conversations with people passing by who are curious to have a peek inside. I had to do some serious renovation work to make it functional. The smell of oil and gasoline lingers, but the garage has high ceilings and four large skylights, so the wonderful natural light makes up for all that.
Tom Kraanen, Turn Left Turn Right, 2023, Josilda da Conceição
What is a typical day for you? Do you have routines, such as starting at a specific time or always having to have music playing?
In the morning, I take the eastbound ferry, listen to a podcast and then grab a coffee and croissant from my neighbours at Kometen Brood Café. After that, I turn on some music and work until the late afternoon. During the day, I visit my neighbours a few times for coffee and something to eat, observe what's happening outside on the street and then return inside with a fresh perspective and satisfied appetite. Everyday visual stimuli play a significant role in my work, so the bike ride to my studio is crucial to what happens on the canvas that day.
You mentioned that stimuli are the starting point of your work and that you listen to music throughout the day. What kind of music do you listen to and do you select it based on your work plans for that day?
The music I listen to while working is quite diverse, ranging from contemporary R&B to UK Garage, electronic and psych/surf rock, from Frank Ocean to Bicep and Khruangbin. In the past, I would listen to artists like Burial for hours to stay focused. Jai Paul has also had a significant influence on my work. Nowadays, I often turn on my Spotify Discover Weekly, which is usually quite good. It blends housey tracks with experimental work that doesn’t fit into a specific genre. If I need an extra push in my work, I'll play Fred Again's Boiler Room set for the hundredth time.
Tom Kraanen, Bent Paperclip, 2023, Josilda da Conceição
Do you have any specific requirements for a studio space? Natural light, storage space, views of greenery or nearby colleagues and friends?
In the past, I've had various temporary studios, much like this one. But this one, surrounded by creative individuals and cool projects, is the best one I’ve ever had. Unfortunately, I'll have to leave my garage on December 1st because it's being demolished. So now I'm ruined for life because I won't easily find such a fantastic space again.
Tom Kraanen, Didn't You Know, 2022, Josilda da Conceição
Your work is currently on display at Josilda da Conceição alongside the work of Denitsa Todorova, whose work is markedly different from yours in terms of colour, material and technique. So, what makes your work and hers such a good match?
The strong contrast between Denitsa's work and mine in terms of colour, material and technique creates a distinct interaction. Her work becomes even deeper, while mine becomes more playful. Interestingly, we both work in a maximalist style, although Denitsa tends to reduce her work to its essence. This is something I have also attempted to do with the new series of paintings I’ve created for this exhibition.
You currently work as intuitively as possible, allowing viewers to see something they might unconsciously recognise. This is a significant departure from the figurative work you initially created. What inspired this evolution?
In the past, friends and acquaintances would often tell me that I kept changing my style. I quickly grew tired of my work, sometimes even before I had completed it. The figurative style was too limiting for me. As I transitioned to abstract art, I found myself working with greater freedom and associations. Within the abstract realm, I frequently discover new paths, as I have with this exhibition, and I expect to stick with this genre for a long time.
Tom Kraanen, Tube This Way, 2023, Josilda da Conceição
Is there any specific work in the exhibition with a particularly compelling story?
Normally, I don't sketch, but I did so for the new works I created for this exhibition. This was a first for me. The painting Tube This Way had a much more elaborate plan initially, but I retained many elements in the final work. I realised it was even more powerful with less and I could have reduced it even further. This approach is also new to me.
In a world where diplomas often play a significant role, artists are typically schooled. You, however, are self-taught. Was there a moment when you decided to do things your own way?
While studying medicine at the AMC, I had a few small exhibitions here and there through acquaintances. At some point, it occurred to me that being an artist was also an option, something I hadn't considered before. After completing my Bachelor's degree, which is a diploma in itself, I began to focus on art. Enrolling in a new study at an art academy didn't fit into my life at the time, although I often considered it.
Are there any advantages to being self-taught?
I once asked a gallery owner that exact question and he unequivocally responded, "No." Enough said. Personally, I think I'm less confined by a framework or idea, which has allowed me to work in many different styles before reaching this point. That gallery owner later expressed an appreciation of my work. So, I'm not doing too badly.
Tom Kraanen, Heavy Burden, 2023, Josilda da Conceição
Apart from your independent work, you also work on commissions, including projects for Vogue and Diesel. Do you notice differences between doing commissioned work and your own work?
Creating commissioned work is a different ball game and something I've had to grow into over the years, both on the business side and in seeing the client's wishes as a challenge rather than an obstacle. When doing commissioned work, I often bump into my own ego. I now see it as a process that leads me to do things I wouldn't have thought of on my own.
What are you currently working on?
My duo exhibition at Josilda da Conceiçao Gallery with Denitsa Todorova opens this weekend. I've been working towards this for a while and have come up with lots of ideas for new work. In the next few months, I'll have to set up my new studio and move everything there. In my new studio, an old Mercedes garage, I plan to organise a large group exhibition in early 2024. There's also an exciting collaboration coming up with a friend's design label, although I can't reveal much about that yet. A large mural project is also on the agenda.
Tom Kraanen, Easy As ABC, 2023, Josilda da Conceição
