Curriculum Vitae
PERSONAL FACTS:
name: | Jannig Kwakman | |
address: | Kerkstraat 5 | |
domicile: | 1131 BE Volendam | |
country: | The Netherlands | |
nationality: | Dutch | |
telephone: | +31(0)642889063 | |
e-mail: | jannigkwakman12@gmail.coml | |
date of birth: | 26 march 1950 | |
EDUCATION :
1972 | Academy voor Beeldende Vorming in Amersfoort Holland 2end degree Arts and Crafts | |
1979 | 1st degree Arts and Crafts . Specialised in ceramic sculpture at the Academy in Amersfoort. | |
1987 | Artists in Residence Program with José Vermeersch in the Ceramic Working Centre in Heusden, Holland. | |
1988 | Professional sculptors exchange program, Studio | |
1989 | Laidman, San Fransisco U.S.A. | |
ART ACTIVITIES :
1971 – 1984 | Art teacher at several schools in Holland | |
1984 - 1990 | Teacher of sculpture, ceramics, didactics and art education at the Teachers College, Hogeschool Midden Nederland in Utrecht. | |
1988 - 1990 | Management and coördination of an international Ceramic Sculptor Exchange Program. | |
1989 | Teacher summer course Ceramic Sculpture at California State University, Sacramento (Cal.) U.S.A. | |
1989 – present | Ceramic sculpture instructor in private studio in Volendam, Holland. | |
1993 – 2014 | Conservator of the art collection of Hotel Spaander in Volendam. | |
1994 – 1966 | Participation in an international group of artists, the “Group Kâ “. This group was working in very different areas of the arts. Their activities vary from dance, painting, juggling,literature to sculpting. The group had a manifestation in november 1994 in Bruxelles, Belgium. | |
1989 – present | Working member of the Dutch union of ceramists. (NVK). | |
EXHIBITIONS :
1980 & 1985 & 1997 | The Volendammer Museum in Volendam. | |
1988 & 1989 | The Shenandoa Gallery in Plymouth (cal) USA. | |
1988 & 1989 | The Udinotti Gallery in San Francisco and Los Angeles (Cal) USA. | |
1990 | Gallery “Keramix”in Nieuwegein. | |
1990 | Davis Art Centre in Davis (Cal) USA. | |
1990 | Robert Else Gallery In Sacramento (Cal) USA. | |
1990 | Gallery “Dubbel Zeven” in Amersfoort. | |
1990 | “Het Glazen Huis “ in Amsterdam. | |
1991 | Ceramic market in Ravenstein. | |
1991 & 1993 | Gallery “Casus “in Purmerend. | |
1991 | Gallery “Eind April “in Amsterdam. | |
1993 | “De Hoge Hees “in Eersel. | |
1993 | Gallery Desude in Udenhout. | |
1994 & 1996 | Gallery Babel in Landsmeer. | |
1994 | Art “Lend out “ in Leeuwarden. | |
1993 & 1994 & 1995 | Gallery Marc in Bruxelles (Belgium). | |
1995 & 2002 | “Art at Home “route in Edam. | |
1996 & 2001 | Gallery “Le Pignon “in Grootschermer. | |
1997 & 1998 & 1999 | Gallery Beeld² in Velp. | |
1997 | Sculptors exhibition in gardencomplex “Isis “ in Purmerend. | |
1998 | Gallery “Bon Ton “in Helmond. | |
2000 | Participation in Ceramicsguide North- Holland. | |
2000 | The “Kapberg”in Egmond aan de Hoef. | |
2001 | The “Kunstwinkel “in Schimmert. | |
2003 until 2017 | Participation in Art Route in Volendam. | |
2003 | Gallery “Kempro “in Sterksel. | |
2004 | St. Michaëls church in Oosterland (Wieringen) | |
2005 | “Art in the Glasshouse” in Heerhugowaard. | |
2006 | The Big Church in Oosthuizen. | |
2007 | The Big Church in Edam. | |
2009 until 2017 | Ceramists North-Holland | |
2012 | Archives in Purmerend | |
2012 & 2014 | Art and Antiques Fair | |
2013 | Ceramics Market in Gouda | |
2014 | Jubilee exhibition of The Dutch Federation of Ceramists in Deventer | |
CHARACTERISTICS :
Jannig’s sculptures have the shape of women in an expressive pose. She tries to make her pieces fragile, open, tense, earthy and powerful.
Her images are a reflection of the powers that in many cultures are attributed to the gods, demons, wizzards, witches and saints. The forms of her sculptures are inspired by the way western, african, indian and asian artists have shaped these powers in their holy and artistic objects. In her interpretation of these forms she expresses her own feelings and ideas.
Growing processes in nature are a great source of inspiration too.
For her it is a constant challenge to exploit the subtle characteristics of the clay; the tension of the surface, the color, the delicacy and fragility of the material. These qualities also give character to her sculptures. She rarely uses glazes. Sometimes she burns her work in a sawdust kiln to achieve a black burnt pattern on the surface.
When Jannig uses porcelain, she sometimes combines it with water. For water plays, water knows the game with wind, air and space already for a long time. Jannig plays along with the water and carries images; white, bleached, sometimes battered, in the shape of a shell, like foam, frail, open, transparent and yet strong. Porcelain – pure, or slightly touched by color, – it plays the game very well.