Publications about my art in:
2017 "De streekkrant" ( journal) Article about my work
2017 'Veraf dichtbij' book by Eddy Wullink; 2 pages about my work.
2017 Catalogus Matrices 2017,international exhibition elektrografic art, Hungary
2015 Catalogus Ágora now" triennial digital art
2014 Agenda, kunstmaand Ameland
2014 Schriversronde Oldenbekoop catalogus book binding ( public prize)
2013 Catalogus Fifth International Artists Book Exhibition Hungary
2013 Catalogus, Electrografic art Bienale Budapest, Hungary
2012 Yewellery objects 3-D, Papwr art manifestation, Loenen
2011 Under thousends colours of grey
2010 Catalogus Matrices 2010,international exhibition elektrografic art,Hungary
2010 Catalogus Fremd, Freund , Natur, Dotlingen, Germany
2007 Catalogus Matrices 2007,international exhibition elektrografic art,Hungary
2007 De Ommelander (Art from Molenrij by Eric Post) maart 2007
2007 Catalogus Pilgrims books
2006 Catalogus; 'Fourth International Artist Book exhibition.' Székesfehérvár,Hungary
2006 Tableau, fine arts magazine april
2006 Nieuwsblad van het Noorden (by Bouwe van Norden - Jan 2006)
2006 Kathmandu post: 'Paper art expo' nov 4
2002 The Sunday times (Sri Lanka) May 2002
2002 Daily News (Sri Lanka) Indra, May 19 2002,
1993-2008 Different books published in Guinee Bissau, Portugal, Nepal, Sri Lanka and The Netherlands
( see a selection under the rubric 'books' in this site)
Three articles that appeared in news papers:
1.Interview by Jos Schoffelen in the newspaper "Kloosternijs" 2007
Lives in Molenrij, where her studio and home is . But she travels a lot, especially in Africa and Asia, and actually the world is her studio.
Paints, photographs, makes books and illustrates books, makes installations, statues ans many very special artist books.
She uses sometimes rather experimental techniques like drawings with pigments on very fragile Nepali paper and frozen paintings in ice blocks and statues of paper.
The opportunity does not matter. Whether it is Nepal or Burkina Fasso or Molenrij.
Working with people, events and places were she is present, or her own fantasy that always is ongoing. She also likes to work together with others.
Her studio in Molenrij is the place where she created her own atmosphere. There she is not disturbed. It is a point of concentration. But easily that can be extended to the garden or the world.
She actually is always busy with her work; what she experiences, sees, it all leads to ideas that are haunting and she doesn't release them until she finds a way of visual expression for them.
This is an ongoing process. Only when everything is upset down by a move she is not focused on her work.
Study Cultural Pedagogy. Afterwards a part time study on the Cinema academy.
And later the art academy Minerva in Groningen. During the study in the second year she, with permission, of the art- school traveled for a long period. Also for her final year and exam she traveled.
Her development did not happen by the study. The institutes were places were could be experimented, helped to focus for own ideas from elsewhere, and were also an encouragement by a few inspiring teachers.
She traveled all her live and collects folktales.
There is a lot of difference in making free artwork or making work for a special target group.
Or work as assignment. In my free work I can let my fantasy flow. Like a serial of photos from soap bubbles with multiple reflections of herself made on different palaces in the world were she was.
In the assignment work (also own work for a special target group) she of course is more bound to the intention of the project. But she also loves to work with others. On books specially, that are made completely by them until the cover. If there is a cover, because the books take strange shapes. So there is a book in the shape of a box with works on big paper bananaleaves.
The endless variation of images. From the world outside in which she takes part intensively, people, places. And the fairy tale world. The world of poetry. The world of fantasy, worlds inside worlds. Reflection in literal and figurative sense. There is always to much to carry. That all trikers my fantasy, my never ending need to create. To choose is an essential part of the work process.
2."Sunday Times," Colombo, Sri Lanka: Dreaming in Colour
Sri Lanka's complex personality provides the inspiration for the 'Dreaming
in Colour' exhibition by Dutch artist, Eva Kipp. This exhibition is built around Eva's diary of the year 2000, a year in which many facets of Sri Lanka's character set her dreams alight. They found their way into colourful gouache paintings on Nepalese hand-made paper, acrylic paintings on canvas, painted wooden hand-shapes, acrylic paintings on canvas, carved and painted mahogany screens, and an installation and book on 400-year old Dutch graves in Sri Lanka and a miniature art book about the year 2000.
Her 'diary' was stimulated by the beauty of Sri Lanka's natural environment and its fascinating cultural life. Swimming in the sea with her daughter, the chanting of monks, the Kandy perahera by candlelight, the singing fish of Batticaloa, these all emerge as subjects in her work.
We asked Eva what inspired her to embark on this diary.
With 18 artists from around the world, we decided to keep individual 'diaries of 2000', the first year of the new millennium. The diary could take any form and we were to stay in touch via the internet. I always wanted to keep a diary but worried that I didn't have the self-discipline to keep it going. So, this project gave me the momentum to complete the diary.
You have lived in Nepal and Africa as well as Sri Lanka. How has travel
influenced your art?
Travel is a common thread throughout my artwork. I have always traveled, and I have tried, through my free-lance work, to immerse myself in village life in the countries I have lived in. It is only then that I really begin to understand and appreciate a country and its people.
Living in Sri Lanka exposed me to all sorts of extremes. There was the beauty of nature, colourful birds and flowers, and the deep mysterious wisdom of the ancient worlds represented in the cave paintings at Dambulla and Pollonaruwa. I also became aware of other sides that were hidden from general view.
For example, I worked with a community of fishermen in the marsh area of Negombo. The community was Catholic. Statues of the Virgin Mary and Jesus were on every corner. But when I talked to the fishermen, they spoke with conviction about walking ghosts and ghosts which transformed themselves into man-eating crocodiles.
I was fascinated by the contradictions between the community's Catholicism and the richness of their mystical and animistic beliefs. In this village, when a person is sick, devil dancers perform dances through the night. The following day, the sick person is required to slice a pumpkin in half and, if successful, is said to be cured. My dreams, during this time, were filled with demons and devils and ghosts.'
Against the backdrop of natural beauty, however, conflict, grief and confusion also appear. Working with children from different parts of the country who are affected by the conflict gave her a better understanding of that aspect of Sri Lankan reality.
The painted wooden hands are reminiscent of the henna hands of India. What is their significance?
I traveled a lot for my work and decided to pay attention to the things my hands experienced during the day; making tea, mixing paints, cutting papers, arranging flowers. After some time, I added things I saw, I felt and I dreamed about. At the end of each month, I painted a the most important things that happened or influenced me on a pair of wooden hands, as a kind of summary of the month.
This exhibition also displays rubbings from gravestones in the Dutch cemetery.What is your inspiration for these?
The Dutch Museum in Pettah houses a small number of old Dutch headstones.
I was touched by the fact that Dutch people had lived here so long ago and was curious about how they lived their everyday lives. While some of the senior Dutch officials kept diaries which have been archived, I like to imagine the lives of the normal Dutch people, those who were contracted by the Dutch East India Company to work as woodworkers or engineers or builders, and especially the women who traveled with their fathers and husbands, whose histories have not been recorded.
From the writing on the headstones I could imagine the lives of these women.
They married young, around the age of 14, and they often died young, in their teens, during childbirth. They had close-knit families and sometimes whole families were lost in a week to unknown diseases.
I wanted to find a form to communicate to others what I felt about these lives and I used rubbings of the headstones with small colourful details of Sri Lanka and poems written by a friend of mine. These women were Dutch, they tried to live a Dutch life but clearly they were living in a country very different in every way from that of their birth.
Why did you call the exhibition Dreaming in Colour?
I published a small book of art work called 'The Colour of Gods, Happiness and Violence'. These were the three most striking aspects that came to me in my work in 2000, especially as they appeared in my dreams. Colour is an important part of my life. Without colour I could not dream and I could not paint.So, Dreaming in Colour seems to sum up my feelings about this diary.