Starters on Their Way 1

How do students fare after graduating from the Royal Academy of Art in The Hague?
Since 1991, a special working group on behalf of Stroom has attended the final graduation presentations of both the day and evening programmes. During these visits, Encouragement Awards are granted to stimulate young graduates in the development of their artistic practice. Following an earlier exhibition in 1994, Stroom has invited the recipients of these Encouragement Awards from the years 1995 to 2000 to participate in Starters on Their Way. In two consecutive exhibitions, a total of 21 artists will present their work in the exhibition space on the Toussaintkade. During two special events, they will also elaborate on their work. Starters on Their Way offers an engaging insight into the professional practice of a large group of young artists.

Information about the participating artists in Part 1

Abeba (1957)
"To make form and content one, a constant interaction between the two is needed. At times the emphasis will lie on one, then on the other—shifting. In both cases, the outcome is expressed through change (movement, growth). So the constant is movement. The non-constant is time and space—what exists in space. While movement is a constant, its speed is variable. My work is always directly connected to my life. I am part of what surrounds me. The small, visible surface is linked to deeper layers. Movement, growth, and change are essential conditions for me to live and to work."

Melaak Haileselassie (1966)
"The subjects and themes of my collages can be approached in many different ways. Various coloured papers are layered and decorated with additional elements. The theme of my work is expressed through a confrontation of forms, contrasts, and harmony."

Joost van den Hondel (1969)
"Material and space are important in my work. I try to let go of the final result beforehand. I too would like to paint ‘the way the blackbird sings’. Painting is doing."

Eva Klee (1970)
"As part of the exchange project Porto–Rotterdam, Rotterdam–Porto (both Cultural Capitals of Europe in 2001), I created two works. One of them is presented in this exhibition."
"...taking the bus into the city. I arrive—it was June 14th, Corpus Christi. DO YOU REMEMBER? I take a few photos. FOR THE MEMORY. In a square, late at night, a few couples dance to a small band. DO YOU REMEMBER?"

Marja Milo (1957)
"In my work, I impose strict rules and boundaries on myself—and occasionally, for a short time, I loosen the reins. I’m interested in what that does to me and what it means for my work. It’s one big search for the right balance for me. As I’m also working on an installation involving 100 participants, the exploration of my boundaries is pushing further than I ever imagined."

Els Snijder (1958)
Since graduating in 1995, Els Snijder's work has always shown characteristics of installation art. Although she created autonomous sculptures and photographs, these were usually presented in thematic groupings. In recent years, this approach has evolved more toward site-specific work: temporary, one-off installations. The content of her work focuses on the body and space/place—what space does the human body literally and metaphorically occupy? She explores this question through a variety of media, including casts, wooden or rope forms, photography, video, and sound.

Tiny Schilder (1944)
"The subject of my work is façades, in the broadest sense of the word. Behind the first impression, many unexpected layers can lie hidden. My work is built up in many layers, both formally and emotionally. Through the interplay between reason and emotion, between essence and minimalism, I search for ever greater subtlety in tone/colour, proportion, and depth."

Wieke Terpstra (1956)
"I create monumental works using plaster, fabric, rubber, and organic materials such as wood and paper. These are transient works, not made for eternity, sometimes on a large scale. They are often white or transparent, and the resulting feeling can range from comforting to unsettling. Like here: the breasts—when inflated, they are already not perky; as they deflate, they become downright sad. They are metaphors for life, in which humour offsets heaviness and transforms it into resilience."

Ems Teijchiné (1957)
"I begin a painting without any preliminary studies so that too much thinking doesn’t interfere with my connection to the subject. Zeeland plays a major role in my landscapes. I’m increasingly captivated by the vastness and clarity of the Zeeland landscape, but especially by its unique light. Struggle and confrontation are characteristic of my work. I wrest the image from the paint matter, which I love so much."