Two works by Amsterdam-based artist Hinke Schreuders appear in our fall issue, both using appropriated images affixed to linen and enhanced by embroidery. We asked the artist a few questions about her work.
Please describe how you choose an image. What do you look for?
I think I choose images intuitively, but since I have a degree in art, of course, this intuition is based on things I learned at art school and during my practice as an artist. The images of landscapes need to have a certain iconic quality, as well as stillness and some mystery. The use of landscapes is relatively new in my work, but as for the images on which women are depicted, yes, they do have certain characteristics I return to again and again.
The women, for example, almost never look in the camera, but seem to be distracted by something happening that is not in our view. This makes for a kind of suspense or suggestion that adds something new to the existing picture. After I altered them, the women seem to be distracted or seduced by something outside the image; they may look confused or worried where before they were plain, careless mannequins.
You must spend a great deal of time looking through old magazines, journals, calendars, and other ephemera. How does the concept of repurposing or recycling enter in to your work? Can you say a little about your experience interacting with mass-produced, printed materials?
The concept of repurposing does not, for me, have a meaning in itself. What is important, however, is that the prints I choose provide a starting point, as opposed to working on a blank canvas. I like it that there is something present that I can react to and make my own by adding or obscuring elements.
The fact that the photos are printed pages from old magazines does make for a vulnerable working surface, since the paper usually is old, yellowed, and somewhat brittle. I like it that this quality emphasizes the human and personal vulnerability that exists as a subject in my work. Continue reading
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