2024
3D printed version after original clay model
solo exhibition
2024
See Lab the Hague
curator: Catelijne Boele
Photography: Anke van den Berg
The solo exhibition of Annabelle Schatteman, titled ‘The Third Passage’, encompasses a personal journey through the subsequent stage of female existence – a chapter that is connected to menopause. The exhibition is an ode to the blood that is no longer present and a farewell that clears the way for the next phase of life.
installation view
2024
mixed media
2022-2023
glazed ceramics
have you bloomed before you fade
2024
glazed ceramics
65×43
2024
glazed ceramics, porcelain, pigment, soil
2024
glazed ceramics
2022
glazed ceramics, soil
2024
glazed ceramics
2024
3D printed after original clay model
2022
glazed ceramics, soil
2024
glazed ceramics soil
2017
pu foam, porcelain
2024
glazed ceramics
2024
glazed ceramics, soil
2023
glazed ceramics, soil
2024
glazed ceramics, soil
2023
glazed ceramics, soil
foam, paint, water, mirror
2022
photo: Mathieu Rynwalt
exhbition’ jij en ik’ with Nina van Dijk
Redeeming Belle is part of the sculptural story 'under my spell'.It consists of 21 lino prints bundled into an artbook.
photo: Anke van den Berg
In the exhibition ‘jij en ik’ (you and m) Annabelle Schatteman shows the second part of her work called 'under my spell'. The first part was shown in Kadmium Delft at the beginning of 2022 in a duo exhibition with Judith Schepers with the title 'that which grows in the dark'.
In 'redeeming Belle' the artist takes you through her story in a hand-bound book with printed linocuts. In this she guides the viewer through a dark and alienating world in which a mystery unfolds. The mystery of Belle, which will not show itself easily, but wants to be told.
The exhibition will also feature three-dimensional work that translates individual chapters from the book.
The linoprints are available separately.
Some of the linoprints are printed on t-shirts and are for sale in limited edition for €35,-.
photo: Anke van den Berg
plaster, paper, wood
2018
photo: Mathieu Rynwalt
photo: Anke van den Berg
glazed ceramics, mirror
2022
photo: Mathieu Rynwalt
photo: Anke van den Berg
fabric, mirror
2022
photo: Mathieu Rynwalt
photo: Mathieu Rynwalt
handbound linoprint book
photo: Anke van den Berg
glazed ceramics, laquered chairs
2018
woud, chalk, lace
2022
pine wood, porcelain, moss
2022
porcelain, foam, pater, paint, charcoal, chair
2021
Curator Sonja Van den Burg about the exhibition 'dat wat groeit in het duister' with Judith Schepers and myself.
A space where two artists present their work. Two artists who live and work on opposite sides of the country, one in Scheveningen, the other in Enschede. Until recently, they were unaware of each other. Working from the same source, they create a wondrous space that references a mystical journey through a dark forest. A path full of possible references to malicious myths, tales, archetypes.
The first encounter with Annabelle Schatteman's work was the presentation of "The Desired State" in the See Lab project space. An installation that gave the impression of a tsunami having occurred, leaving behind sea foam, furniture, and ceramic artifacts that refer to a once-lived existence. Faint memories, wind-blown and washed away stories.
From Judith Schepers, it was a large drawing of a wintry, bare forest with a threatening and silent floating black hole in the center. Softly vibrating and absorbing, it draws attention. That image in Kunsthof88 lingered and raised questions for more—what is going on here?!
The Haunted Forest
visiting Annabelle Schatteman's studio, Scheveningen On a Monday in August, I bike to an appointment at Annabelle Schatteman's studio. Her studio is on the ground floor of a former school building in Scheveningen. The high windows let in a lot of light. Shelves with work surround a large empty space where new work is created and experimented with for presentation possibilities. During a previous visit, there was a large sculpture of fresh clay on some trestles: a grown man was being birthed. It has now been replaced by various wooden objects, standing, lying, leaning. Minimally worked, sometimes painted.
The presentation is a direct reason for a conversation about the process of her work, all part of the Haunted Forest, depicted in three colors: black, green, and wood. Here the dragon watches, leaking breasts are threshed, the mother, daughter, and creator of the material world stand, and the young girl becomes the witch. The young and old woman have transformed into one. Night and day images come to expression and find their temporary place because everything is in motion and may come to fruition. Everything here is "Under My Spell."
original text is in Dutch
roots of tree, glazed ceramics
2021
linden wood, oak wood
2021
table, moss, linden wood
2021
elm wood, chalk, steel
2021
chinese willow wood, paint
2021
found wood, steel
2022
glazed ceramics, ashes
2022
fired clay, pine tree
2020
This work is part of the theme 'under my spell' but could not be in the exhibition because it is fixed in the garden ;)
glazed ceramics
2019
this photo is taken in the woods, this is not in the exhibition
glazed ceramics
2019
This photo is taken in the woods and is not part of the exhibition
mixed media installation
ceramics, foam, wood, paper,
soundscape by Yun Ingrid Lee
photo: Manon Falces
“When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, like a house in a whirlwind. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.”
Margaret Atwood
The desired state is the first destination of an imaginary journey that started two years ago with an installation of mainly female sculptures, heading for the purple planet, in search of an utopian world where life can be continued
only,
sometimes the world you find is not the one you imagined…
the desired state as exhibited in See Lab project space
mixed media installation: ceramics, foam, paper, wood, sound
soundscape: Yun Ingrid Lee
video: Mathieu Rynwalt
purr foam, wood, porcelain, rope
2017
wood, purrfoam, porcelain, rope
2017
The Amazons. Mythological female warriors who were not much related to their motherly side, they raised female children exclusively as their warrior descendants. Their right breast was cut off, so that on their right side of the body they could be as strong as men.
The Guerilla girls, a contemporary feminist group devoted to fighting sexism and racism within the art world. To remain anonymous they don gorilla masks. So that their womanhood would be concealed, so that they could be ironically manly like gorillas, wild like men. Paleolithic and Neolithic Venus figurines. Exposing their curves and invoking fertility. Being the wombs of life. Of the continuation of life. There is nothing in them that resembles manhood.
Heading for the purple planet. The new series of anthropomorphic, mostly female or sexless sculptures by Annabelle Schatteman. The artist continues her sculptural work inspired by female iconography and keeps experimenting with the combinations of different materials, at the same time giving her work an unfinished note what makes her work sketchy like. She neither hesitates to give to materials symbolic meanings... So that she could tell her vision about human and female strength and fragility in details, the story about the masked and unprotected humanity. About the continuation of life.
When approaching these female figures, one can feel the counterpoint between their robust, stable legs which follow the tradition of ready- made (artist uses old chairs, wooden boards, easel, etc.), and the torsos sculpted in different materials like PUR foam, paper and porcelain. Owing mainly to PUR foam, but also to paper, the torsos seem organically exposed, almost wounded and decayed as sea fossils. The experimentation with the material like PUR foam results in the artificial material expanding visceral characteristics, in a way resembling the porosity of the previous series Paradise of Surrender when Schatteman placed nine female busts made of clay into the sea to see how the tide would affect the material... But, on the torsos of figures heading for the purple planet there is also the porcelain from which the artist shapes female chests and models the masks for their faces. The strong (but also fragile) material used for petrifying the chests can also be seen as some kind of “Amazon shield” if we remember the Blue Bra girl beaten by the military in Cairo in 2011...
The mask, also one of the recurrent elements in Schatteman’s work, is not expressive like the afore mentioned gorilla mask representing female rights, or the naturalistic masks-faces in the work of James Ensor, but it follows more the tradition of masks which have the absence of expression (Venetian masks). Are these creatures being themselves under the masks or is their identity expressed in everything but a mask – the robust legs and mostly fragile torsos...? Are they just standing there in the exhibition space helplessly, not even evoking fertility like
Venus figurines, but naively requesting the new, purple planet, an utopian society, where life will continue and where human beings will be able to take off their masks and shields. Not only masks which they wear themselves, but also the masks genetically inherited from their ancestors. Maybe that is the reason why these creatures could even be read as sexless, in a way as if they have been freed from gender, classification or a (family) tree, but still they have a strong urge to continue life by creating and choosing for the freedom... By being at the same time the Amazons, Venus figurines, mothers, artists but also men!
Neva Lukic writer & curator
purr foam, paper, porcelain, wood, chalk
2017
registration video of exhibition 'heading for the purple planet' in Campo Santo (SInt-Amandsberg)
video: Mathieu Rynwalt
detail of installation in group expo get things off our chests
What a strange little horn shows the inspiration and background story of my new work the desired state. The work shows the path into discovery for the more or less one year that it took to develop the stepping stones of my story. It gives you a rough guide through the development of the desired state up until now. As I let myself be guided by books, quotes and accidental encounters to give content to and shape my story, so let yourself be guided by the islands of glass to catch a glimpse of the shadows of my imagination.
To get (something) off one's chest is an act of sharing, confessing or relieving one's mind. It is an opportunity to talk about something worrying, to let go of neglect. It is an invitation to discuss something private, to pay attention to a character or an unknown nature.
As a response to creative dialogue about art practices, the framework of the exhibition takes the studio as a subject for exploring the key roles and methods of working, and positions artist’s body as an important element of its operations and creative labor. This group show introduces studio space as a site not only for producing, making and showing an artwork, but examines what is personally significant to a maker, an art worker, a creator, a female artist.
bronze
63x33x40
2014
This series originated from a need for strong imagery, powerful representations of the female. The sculptures form a clan connected by patterns. The patters serve both as protection as well as a reminder of the questions: what is our blueprint, what is ours and what has been imposed on us? Can we change the patterns or did they become so much a part of ourselves that we can not do without them? If we manage to shake them off or deny them, what is left, if anything, of ourselves?
foto: Anke van den Berg
bronze
edition of 4
75x55x45
2014
bronze
50x20x30
2015
bronze
50x30x20
2015
bronze, plexiglass, wood
180x36x36
first clay mask I made in 2012 had cast in bronze in 2016
registration video for mask making project and oxygen `19 mask
masked project was performed in `Nutshuis Den Haag` in September 2014. It is an interdisciplinary performance of dance (Maurizio Giunti), music(Anna Mikhailova) and sculpture (masks). It deals with the reflections of society and how we come to wear them as masks. Is there a way out of that loop or not? what are we without masks if anything? In my blog there is quite some information about how it came to life.
Extracts of 30 min performance with dance piano and masks. The performance dealt with how we come to wear the reflections of society as masks and the questions what we are without masks if anything? Anna, Maurizio and me created the performance together and each had our role in it. I was a mask maker that did the hole performance nothing else than making masks, the dancer trying to destroy them, the old and new ones, but I went one infinitely. For the performance I made more than 300 masks. Masked project was performed in September 2014 in Nutshuis Den Haag.
papier maché
2012
This series of papier maché masks came to life after working on the mother artist/artistmother theme and deals with stereotyping and roles that we need/want to fulfil. It consists of free associations with word and image.
papier maché
2012
papier mâché
2013
papier mâché
2014
papier maché
2014
exhibition view
exhibition view
selection of the papier maché mask collection that I made in 2012-2013
This series came to life when reflecting about all the roles we play or are pushed into and how we come to wear them as masks.
paradise of surrender as exhibited in KV20popupArt&projecten
paradise of surrender is a project that I performed in April 2012. I chose to make 9 women busts of white unfired clay and placed them in the sea for one tide to see what happened when they were being overwhelmed by the forces of nature.The whole process was filmed. The result is an installation with video (13min loop) and sculpture.
video still
video still
video still
exhibition view
installation with video and sculptures of unfired clay on metal stands
the day of the performance, april 2012
Filip Kindts filming the sculptures
preparing the performance of the sculptures in the sea
audience despite cold weather
