Artist Interview: Anke Roder

Sunglow 2020
encaustic and oil paint on wood
21 x 18 cm

Anke Roder ( Bayreuth 1964) is a Dutch based painter living in Zandeweer, north coast of the Netherlands. Her studio is surrounded by a big artist garden, composed like a living colour changing painting and combining form and structure of plants. These colours of nature are of great importance for her paintings. The blushing sky has similar shades of pink and red as the blooming roses, translated into colour tones in her landscapes. Coastal walks reflect a greater space, empty planes and fields are changing every season and absorb the luminous skies. We remember clouds, shades and shadows,  reflections of light, all together as a philosophical space. She always had a deep interest in natural surroundings and phenomena and works with an awareness of being part of a greater picture.

Aan de Kust ( At the Coast) 2019
encaustic and oilpaint on oakwood
21 x 18 x 4 cm

Can you explain who you are and what you do?

I was born in Germany (Bayreuth), lived in quite some places over there (my father worked as a textile designer and had to set up new departments in several places) grew up in a small town and village in Schwarzwald and live in the Netherlands, my mother’s country,  since I was 11 years old. I lived in all parts of the country, started in the south, studied in the middle and now work and live in the very north near the Northsea.

I’m a painter, love to work on paper as well, and write on a freelance regular base about contemporary art and artists.

What themes do you pursue in your work?

Nature, colour, space, light, horizon, tactility, serenity, transparence, gesture of painting act.

Dahlia 2019
encaustic on oakwood
26 x 18 cm

When and why did you use beeswax in your art?

Some years after I graduated artschool I worked on a multi-panelled installation called ‘De kleurenleer volgens de natuur’ (Colour theory according to nature). I researched different materials in abstract monochromes and was interested in how time affected colour, using copper, oxydated copper, textiles, rubber, and different paints and pigments.

In this piece I discovered raw beeswax, with it’s smell of honey and natural ochre colour. Melting it filled my studio with this scent of nature, and there were so many ways to use the paint. My first experiments were all abstract paintings, testing every possible way to use brush techniques, relief, painting slow for smooth surfaces or painting very quick and light to get a moss covered appearance. When I added pigments and discovered that the raw waxcolour affected the brightness of colour, I started using purified beeswax.

What qualities of beeswax as a material appeal to you?

I like the semi-transparent qualities, and the way pigments reflect light in this translucency. For me it’s the best way to experience colour in a very pure way. The liquid melted paint solidifies without loosing it’s fluid qualities.

Full Moon 2019
encaustic and oilpaint on oakwood
37 x 22,5 x 4 cm

What is your creative process like?

In the mornings I read, write, answer emails and go for a coastwalk to empty my head. I take a look on the work I had done the day before.

Almost every day of the week after lunchtime I paint, starting to melt the beeswax, which takes about an hour, using that time to do some preparing panels or making works on paper. My best painting time is later in the afternoons until dinnertime, sometimes continue painting in the evenings. After I finished work I usually scroll through social media to react and select some new works for our Insta page Le Jardin RoBo. 

What role do you think artists have in society?

Awareness is the first word that comes into my mind. There are many roles and ways to connect or react to society. As an artist I prefer standing with my face towards the beauty of nature. I don’t have any illusions that art can change the repeating history of world and mankind. As a human I fiercely believe that we have to take care for our natural surroundings, the oceans, the climate, ecosystems of flora and fauna and that we have to protect this vulnerable balance.

Eilandlicht ( The light of Isles) 2017
encaustic and oilpaint on driftwood
17 x 30 x 4 cm

What inspires you?

Inspiration is in everything: art, nature, the changing light of seasons, travels, philosophy, natural history, literature, poetry, music, coastwalks, hours in the garden. 

What have you learned from your career as an artist that you would like to pass onto other practising artists?

Work hard, be kind, it’s not about ego, make a lot, improve, show your works and communicate through your work.

And two books that were of great importance for me:

Agnes Martin – Writings,  2005, Publisher Hatje Cantz Publishers

Kuo Hsi -An essay on landscape painting

Both painter-writers write about the untroubled mind, and find words describing the act of creating and the best circumstances to follow your path and do your work.

Do you think artists need a goal?

It’s all about balance, exhibitions are great goals to push yourself towards your very best. Artist residencies on the other hand are so very important for working in new surroundings and offering time to research. 

The act of painting is vital by itself, just start and your goal will appear.

What could you not live without as an artist?

Studio space and inner fire

Anke Roder in her studio in Zandeweer, the Netherlands, photographer Hans de Bruijn

Where to follow Anke Roder:




Artist Interview: Karin Arink

Manifold Mumbag & fragments of the white visions 2006

Can you explain who you are and what do you do?

I am Karin Arink, I am an artist and art educator. 

My work has always consisted in a balance of collaboration, art education and an individual studio practice. In my collaborative work, I take on different roles, a.o. as communicator or co-curator for projects by Foundation B.a.d, and I have also done collaborations with a.o. Jeanne van Heeswijk and Renée Kool.

After some years of guest lecturing in various art schools in the Netherlands and Belgium, I started teaching at the Willem de Kooning Academy Rotterdam. I became first a tutor in what then was called ‘Professional Orientaion’ classes, then a Student Career Coach and am now the Course Leader of the BFA Fine Art and BFA Photography, both in the School of Art.  

In my individual work I use a variety of media, such as text, drawings, animations and (textile, papier maché) objects and (cut-up) photos. The choice depends on what experience I choose to convey. 

I make (wearable) sculptures and re-photograph these to make metamorphosing ‘states of self’ visible.

What themes do you pursue in your work?

My works embody what I call ‘states of self’: interactions between corporeality and ideas on how you should manifest yourself – through body postures, garments, language. Through transformed (physical) shapes, I aim to reconnect interpretations of who “I” could be, to an affect-rich experience of existence.

States of Self Schiedam 2008

How has your practice evolved over time? What has been the main driver of that?

I started out a very ambitious young artist and was accepted to the Rijksakademie Amsterdam directly after finishing my BFA in Rotterdam in 1990. At the Rijksakademie I worked, finding my style and focus, and then started applying on open calls. After some half-succesful attempts, I did get into the final selection of the Prix de Rome Sculpture 1992 (together with Joep van Lieshout – now AVL, Tom Claassen and ao Mark Manders) and I won the First Prize. From that moment I worked as full-time artist (living off selling work and getting some government grants) up and until 1998-1999 when I went to live and work for a year in Japan, again with government funding. I participated in numerous exhibitions in the Netherlands and abroad, including the Van Abbemuseum, Centraal Museum Utrecht, Boijmans van Beuningen, Museo Pecci, Stichting De Pont, Gerhard Marks Haus Bremen, Rijksmuseum Twenthe (until 2021) etc., and had solos in a.o. Stedelijk Museum Schiedam (2008) and in Club Solo Breda (2016). I was represented by Galerie Tanya Rumpff in Haarlem and am now represented by RAM Galerie Rotterdam.

During all this time I was also actively participating in collaborative projects with artists like Jeanne van Heeswijk and Renée Kool. And most of all as a member of artist group (now artist-run residency) Foundation B.a.d, with whom I realised projects a.o. in the RCA Galleries in London (in the exhibition Democracy! in 2000). I have always liked the dynamic of artists thinking and creating together

When I came back from Japan, I started guest lecturing more and more and really loved doing it. With Foundation B.a.d our next project was to make sure our squatted school could become a long term artists residency, and this we achieved in 2012 after 10 years of lobbying and work.

Over the years, I decided to take art education  more and more seriously. When I started a family, my focus became more on teaching and collaborating and less on my solo career even though I always want to continue making and exhibiting my work. I did a Master in Education in Arts of the Piet Zwart institute in 2014-2016. At the moment I am creating a new series of sculptures titled VerteerWezens (the Dutch verb ‘verteren’ means to digest, to process).  

What role do you think artists have in society?

Maybe a metaphor is helpful: if society is a bread (with a focus on being practical and nutritional), then art – and all the micro ways people have of diverging, of thinking and acting differently – are like the air bubbles in it, left by the yeast. It may seem disfunctional or even silly, but without art and all these pockets of diverging thought, society would become too dense and heavy and indigestible.

Soliciting 1990

Can you describe a real life situation that inspired you to create? 

My work is always inspired by my awareness of how I exist in relation to others.
To give an example, when I was graduating from art school, I was in a love relationship for the very first time. I realized that what I require of my love overlapped with what I would ask my viewers: to take me seriously, pay attention, be critical, be open minded, etc. So I made a text-as-work, embroidered, with all these short sentences.
Sometimes my work evolves from a more affect-rich sensation (for instance, of being very close to another) and then the physical shapes I make are like bodies melting into each other, for instance in a work like tweeen 1996.

Behind skins and stones (bronze) 2019

When you create an art installation, from where does your process start?

Often it starts with a word or a line. Sometimes a line of a song text, sometimes text written by me.  For instance my installation I made for De Pont museum’s Project Room was titled Manifold Mumbag and fragments of the white visions. ‘Mumbag’ is a word I devised as describing both the terrible,  and strong aspects of becoming a mother – a ‘scumbag’ holding and birthing and cleaning and caring for the child. The Manifold Mumbag was a huge textile object, large enough to walk into, made of pink, purple, lilac and white shiny polyester satin bedcovers sewn to form bulges and limb-like extentions. The fragments of the white visions were a spoken text, a fragment of my artist novel S. the Bearer of STATE (2012) in which the protagonist is enclosed in a white white space. 

What have you learned from your career as an artist that you would like to pass onto other practising artists?

That the art world is multi-faceted and holds many different art worlds with different value systems. What one adores, is hated by another, so it is important to find the world you can work in. Also, all art worlds are changing and unpredictable, so what is regarded as stupid now can be genius later. So keep to your own path! Keep making! And find your allies.. 

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

What kind of goal? Do you mean success-wise, or content-wise? I have no idea and would not feel capable of answering this for others. I used to have a goal of becoming very well known, but then I felt that being an ‘art star’ seemed to require all of my attention and I was not willing to give that to art (my art, nor the art world). For me communication with others both outside and inside the art world is much much more important than my own career. I love seeing an insight land during a talk with a student, or to share my knowledge with colleagues in Foundation B.a.d. My goal now is to continue creating works, as I feel that now I am 50+ my perspectives again are changing and I want to create from these new points of view. 

What could you not live without as an artist?

I could never live without creating new work (whether it is in text, image, sculpture, …) or without the dialogue within art education.

Where to follow Karin Arink:




Artist Interview: Lisette Schumacher

Exhibition Loods 6 SBK KNSM Amsterdam, Unité d’habitation Nouveau V, 190x130cm, 2020

Lisette Schumacher is a Netherlands based visual artist. Lisette has always had an interest in architecture. Growing up in Rotterdam, there were plenty of fascinating architectonic projects that could serve as subjects for her work. But across borders surrounded by new impressions, is when you can start to expand your own borders. In 2018, Lisette decided to focus on the designs by Le Corbusier, an influential French-Swiss urban planner and architect who attempted to create a better living environment for city folk through his designs.

On location, Lisette observes the buildings of Le Corbusier, paying close attention to form, construction and use of light. During a temporary stay, she observes how the function of a building determines the shape, layout, and dimensioning. At the same time, she observes how the lighting effects are optimized for the user.

The results of her observations are pure, abstract and spherical works based on technical material research. Light-dark contrasts catch the eye, and the gradients found in the acrylic paint refer to the way in which light falls and spreads into a certain space. In her paintings, all the different lighting situations between day and night are combined. Spaciousness is determined by gradients in colour and contrast, almost identical to the way in which your eyes have to adjust to a dark environment with little light sources.

Can you explain who you are and what do you do?

My name is Lisette Schumacher, I am an autonomous visual artist, painting in an abstract manner.

What themes do you pursue in your work?

Visualizing my perception of architectural designs.

Exhibition Radiant Touch, Art23 Contemporary Art Gallery, 2019

Can you describe a real life situation that inspired you to create?

This happens every time I go on a fieldtrip to visit, observe and absorb a design by Le Corbusier, my subject of research.

Why art? What does creative work give to you?

As long as I can remember, I have always been creative; as a child I did a lot of cartoon drawing and sculpting clay figures, as an adolescent a lot of portrait drawing, as a young adult I made sand sculptures for some years. At art school I discovered the graphic department where I made many silkscreen prints and etchings. Though I loved these techniques I discovered there were too many rules for me in the making process and I wanted to make my own rules. In the end I found total freedom in painting as there I apply my own set of rules and continue to develop my painting techniques.

Exhibition Radiant Touch, Art23 Contemporary Art Gallery, Guangzhou China, 2019

What inspires you?

My starting point to paint is to visit, observe and undergo the designs of Le Corbusier. My first encounter was in a community building in Marseille, I spent a week there, mingling in with the locals and discovering this iconic design bit by bit. A wonderful experience that sparked my artistic research into what is now.

What role do you think artists have in society?

The role of the artist can vary widely; when you make political statements with your art you serve society by showing them a mirror, when you make beautiful things you serve society by bringing them eye candy, when you address history in your art you attract people from society who have an interest to connect the past with the present. Art can play a major role in society on a personal level and large scale. During my first exhibition this year in June, I noticed that a lot of people were hungry to finally delve into art after the lockdown, they simply wanted to escape the boredom of the past months, the restrictions, the not being able to travel. They wanted to lose themselves in the story telling of the artists, they all left the exhibition smiling and rejuvenated.

What is the best piece of advice you’ve been given as an artist?

To never under price your work because then you undervalue yourself and cheap equals lesser quality. Also the only way is up. I was taught about this subject at art academy and it has helped me from day one after graduating.

Bay Window Niche Paris XI, 20x15cm, 2020

Do you think an artist needs an ultimate goal in his/her work? If so, what yours?

I think every artist will set their own personal goal. What would you like to achieve in your career as an artist? There is the artist who is very happy and content to just work in the studio and make a body of work but who does not feel the need to show it to the outside world versus the artist that has a big drive to create and show the world what he has made and everything in between. For me it is important to keep creating in concentrated periods of time throughout the year visualizing ideas and then showing them to the outside world. I am interested to see how far I am able to get in the art world, but first and foremost I will always remain aware to continue being a happy artist; I don’t want to become frustrated because there is not enough time to create, nor do I want to become an artist who is uninspired an burnt out because he had to meet too many deadlines for all the shows he was appearing in.

What could you not live without as an artist?

My music! I usually have my playlist on and prefer listening to music that will bring me focus. Male singers with high pitched voices are my favourite, I discovered one day my playlist was full of them. Radiohead is one of my favourites to listen to as Thom Yorke’s beautiful voice in combination with the timeless melodies makes me calm and eventually brings me into a deep concentration every time I paint. When I am not painting but doing all the other stuff I play a wide variety of music.

Lisette Schumacher

Where to follow Lisette Schumacher:




CURRENT: Suffer Our Values TSA_PDF – Tiger Strikes Asteroid LA printable exhibition July 1 to 16 – Los Angeles United States


Galerie 95 solo exhibition Iconic places (I never wanted to leave) August 22 augustus to September 19 – Biel, Switzerland

Root Gallery duo exhibition with Saïd Kinos – September 4 to October 24 – Rotterdam The Netherlands

ARTFEM women artists 2nd international biennial – September 30 to November 30 – Macau China

KunstRAI Root Gallery – October 15 to 18 – Amsterdam The Netherlands

Art The Hague Root Gallery January 6 to 10 2021 – The Hague The Netherlands