At the group exhibition ‘Verse Aanwas’ my pencil drawings, inspired by Jane Morris her hair, are juxtaposed by portraits in stone by Martie van der Loo.
On show are paintings, drawings, photographs, sculptures and prints made by 13 different artists. From 28 July till 18 August 2019 at Pulchri, Den Haag.
Pulchri magazine published an article about the exhibition (in Dutch). Find a similar fragment in English below, originally written by Klaske Havik in November 2018.
“The pencil drawings of Jane’s hairstyles have been transformed into leading a life of their own in these new drawings. They reach into the depths of drawing itself. The portraits still show traces of thoughts and stories. In the detail of skin and hair lie labyrinthine landscapes in which the viewer can get lost. The muse gradually disappears from the image and leaves room for other, new stories. New, but anchored in the search for the doppelganger, to the self, to the other. They invite you to look the detail and think about what you can read in it.”
Printing studio Grafische Werkplaats in Den Haag organised the workshop Toyobo etching by Eric de Vries. I learned how to transfer a drawing onto a light sensitive polymere plate using water and UV light.
I am happy with the results as my original drawing was reproduced more accurate than the photograph I used during an earlier workshop polymere etching (the colored print).
The book ‘Geen woorden maar beelden, 25 jaar Galerie Atelier Herenplaats, Outsider Art in Nederland’ is also available in English. In almost 300 pages filled with wonderful images and texts, it describes the journey of Herenplaats. It is an art academy for mentally and physically challengend artists, where I enjoy teaching linocutting and etching.
The bookpresentation was held on 29 June 2017 at the Kunsthal in Rotterdam. Watch the crowdfunding clip for more details or visit the studios and exhibitions at Galerie Atelier Herenplaats. Schietbaanstraat 1, 3014 ZT Rotterdam.
Commemorating Jane Morris’ birthday, as she was born on 19 October 1839, I superimposed a colour portrait of me, taken by Liselotte Fleur for the editorial about my work in Lone Wolf magazine, on top of a black and white photo of Jane Morris.
Doublechecking the date I suddenly realised there was another photograph of Jane Morris from the same series.
I might have always overlooked the image on the left as I was so smitten by the image on the left, in which Jane sits upright, full of self confience. Don’t you agree how this slight tilt of the head so drastically influences the way we perceive Jane?
I am proud to announce that Lone Wolf magazine, features an interview with me in their latest issue #12; ‘Philosopher and Muse’. The editorial ‘The Silent Muse’ is written by Natalia Borecka and photographed by Liselotte Fleur.
‘…Suddenly, a strange new prospect presented itself. Here was an opportunity to give someone pushed aside by history, the voice she so deserved. Here was a chance to give Jane her moment in the spotlight, not as a muse, but as a flesh and blood woman. And so, Margje set out out to turn a fading myth into a breathing story, using herself as Jane’s surrogate…’
On July 7th 1865, 150 years ago, Jane Morris’ image was caught on wet-collodion glass plates by John Robert Parsons, following Rossetti’s instructions. I always like to celebrate important events in Jane Morris’ life so I treated myself to a workshop ‘non-toxic polymere etching’ by Petra Tolboom at the Grafische Werkplaats in Den Haag.
First step is laminating a copper plate with light sensitive photopolymer, exposing it with a transparent positive and allowing it to harden under UV light.
Second step is inking the plate with water based ink and printing it on an etching press.
My prints are now being dried pressed using heavy William Morris and Rossetti books. When they are flat I will use them as a starting point; combining photography, etching and drawing. The newly learned technique offers a huge variety of possibilities and I very much look forward to learn more about non-toxic printing.
This weekend I went to the introduction course of the Writers’ Academy in Den Haag. I became very enthusiastic about their course Lifestories and Biographies. This might be just right to provide me with the tools to write an (auto)biography that has been simmering in my mind for a few years. A highly visual artists’ book inspired by Jane Morris’ lifestory as seen trough the eyes of her contemporary double.
For a few years now I have been writing down my dreams about Jane Morris and they inspired an off-the-cuff recording with composer Jolle Roelofs for my exhibition at the William Morris Gallery. In the (auto)biography these stories will be intertwined with my real travels to Jane Morris’ cultural heritage and my visual work.
Visiting Jane Morris’ former homes, musea and archives and plunging into the information on the internet I found a huge amount of information describing Jane Morris. I now created a Pinterest page as a moodboard for my (auto)biography. Feel free to connect and watch my long term project grow!
This original drawing was sold during my solo exhibition at Gallery De KunstSuper. By adding it to my online portfolio on Saatchi Art I now made it available again; as a high quality fine art Giclée print.
Have a look at my portfolio to see more drawings, paintings and photographs in close detail and in different sizes and frames. If you wish to order my work from Saatchi Art they will handle all payment and shipping so the work will safely arrive.
Between 2009 and 2010, I experimented with creating a dummy glossy. I thought it was a perfect device for juxtaposing Jane’s lifestory with mine. Little did I know that in the upcoming summer issue of the international fashion/art magazine Lone Wolf our story actually will be told!
The concept of the current travelling exhibition (now at the William Morris Gallery until 4-1-2015) is perfectly in line with my own exhibition ‘A Memory Palace of Her Own’. Opposite to the room I occupied a few months earlier yet another room is filled with ‘images of Jane as herself’. Photographs, drawings and paintings are juxtaposed with Jane’s embroidery and handwriting. The exhibition offers insight in the relation between Jane as herself and Jane as a muse.
The exhibition illustrates that Jane Morris was multitalented, more than a pretty face. During the opening speech Jan Marsh surprised the William Morris Gallery by donating, on behalf of Frank Sharp, a book with a cover designed by Jane Morris. Photographer India-Roper Evans took photographs of the exhibition and noticed me while I was admiring the recently acquired Honeysuckle, designed by William Morris and embroideried by Jane and Jenny Morris.
After the private view of the exhibition Kirsty Walker accompanied me to visit Kelmscott Manor. They currently exhibit the Centenary Exhibition; photographs that were exhibited at the National Portrait Gallery earlier this year. At Jane Morris’ grave I have paid my homage to Jane even though she lives on in my mind… You can read Kirsty’s review of our trip here.
A few days before John Robert Parsons photographed her, Rossetti wrote in a letter to Jane Morris: ‘…The photographer is coming at eleven on Wednesday. So I’ll expect you as early as you can manage…’.
I had always assumed that the photographs had been taken in the course of a single day. However, while reading Jan Marsh’s catalogue for the exhibition ‘Rossetti’s Obsession: Images of Jane Morris’, I became intrigued by the following paragraph: ‘In autumn 1865 the Morrises moved to Queen Square, central London; earlier in the year they had spent a few days at Tudor House, where Rossetti organised a photo shoot, with Jane taking various poses to use as studies for future compositions…’
Eager to find out how to divide the series of photographs into separate shoots, I disregarded the order used in ‘Album of Portraits of Mrs. William Morris (Jane Burden) Posed by Rossetti, 1865’. Instead, I rearranged the photographs in what I myself surmise is the actual sequence in which Parsons took these photographs. I leave it to you to decide how the photographs should be distributed over the several sessions, if at all…
The narrative and voice are from an off-the-cuff recording for my exhibition at the William Morris Gallery. If you want to buy the cd or simply leave a comment please go to the contact page!
Photographs from my series ‘A Memory Palace of Her Own’ are exhibited at the William Morris Gallery from 11 January to 9 March 2014. The private view was held on 9 January and included a Q&A with the author Kirsty Walker who wrote this review.
By subtly pervading both my art and my subconscious, Jane Morris has built herself a Memory Palace. Gradually, a very personal relationship with her developed, through a series of remarkable dreams.
A limited edition CD was made especially for the private view of my exhibition ‘A Memory Palace of Her Own’ at the William Morris Gallery in 2014. I greatly enjoyed making this off-the-cuff recording with composer Jolle Roelofs, who is also responsible for the editing of the sound fragments and the improvisations on ukulele and piano.
In this fragment I will be meeting Jane and William Morris. There are no more limited edition CD’s for sale at the William Morris Gallery. If you are interested in a copy just let me know and I can send you one.
Excerpt from an email I received from the curator of the William Morris Gallery, Carien Kremer: ‘We would like to offer you a slot in our 2014 programme, showing the photographs in the Discovery Lounge…It would be great to mark the commemorative year with a contemporary take on Jane’.
What are you proposing to display?
A series of four self-portraits. I visited several of Rossetti, Jane and William Morris’ former homes and took staged photos on location with the photographer Hein van Liempd. Referring to Jane Morris’ life story I transformed her world into my own, adopting contemporary clothing and poses.
How is your work relevant to the William Morris Gallery?
The William Morris Gallery is one of William Morris’ two former homes included in my series ‘A Memory Palace of Her Own’. The other, Red House, was designed exclusively by William Morris and Philip Webb, who collaborated in the design of the ‘Green Dining Room’ which is also shown in my series.
Are there parallels with the collection?
I took photos at Rossetti’s studio, as this is the location of the famous photo series of Jane Morris which was the incentive for my own project. In the archives of the William Morris Gallery I have studied the reproductions of this series. There, I also enjoyed the privilege of reading Jane’s letters. I have incorporated her handwriting in my photo of the Red House.
Why is it of interest to our visitors?
In the course of my trips to London and Oxford I have seen many inspiring works of art and artefacts from various museums, archives and from one depot. In my work, I often refer to these objects or quote from the many works on the Pre-Raphaelites. As an artist, it is my hope that my personal viewpoint will supplement the existing works of art and artefacts in the William Morris Gallery to contribute to Jane and William Morris and Rossetti’s cultural heritage.