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: 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  

Artist Interview: Pernilla Iggstrom

Banana (Interior Exterior), Oil on canvas, 165x120cm, 2019

Pernilla Iggstrom is a London based visual artist. Her paintings are the result of a process of investigation into her personal cultural heritage – a journey which explores the effect on her own identity of being born into one culture, then subsequently being adopted into another very different one thousands of miles away.

Pernilla’s personal story is at core, as it motivated her investigations into notions of identity in the first place, but there are also far reaching aspects to what she is saying that she wants to address. She hopes that her art will inspire the viewer to reflect on his or her own cultural heritage, increase the interest and awareness about him or herself and others, and thereby breaking down stereotypical impressions and pre-conceived ideas.

Mainly using source materials derived from her personal archive of family albums and her own photos of the environment, she explores both actual and imagined places (through the nature/nurture concept), where the relationships between the past and the present, the interior and the exterior, and the physical and the psychological are key.

Can you explain who you are and what do you do?
My name is Pernilla Iggstrom and I live and work in Brentwood, Essex, a 25 minute train ride from London, UK. I was born in South Korea but adopted by a Swedish couple when I was 8 months old. I grew up in peaceful 70s and 80s Sweden. Being adopted has always been a natural part of my life and I developed an interest in my heritage in my early teens. I am interested in languages and communication. I graduated from the gymnasium (the Swedish equivalent of college/high school) when I was 18 and took the Trans-Siberian Railway to Beijing in 1988 to study at Peking University.

That was my first time back in Asia and it was a life changing experience. After China, I studied and worked at a few different places and later on lived in Vietnam followed by Singapore for many years. I left the business environment and Singapore in 2007 to move to London to realise my dream of becoming an artist. I did a Foundation in Arts & Design at City & Guilds of London Art School followed by a BA (Hons) in Painting as a mature student which was deeply rewarding. I graduated in 2011 and have been a practising artist since then, showing regularly in art exhibitions.

After having worked in an art gallery and accounting, I now work part-time as a private carer which is very rewarding on every level. I was drawn to this job as I was in meeting people who are full of life experiences and who have lived through the many great world changes during the last 70 years. Listening to their stories is fascinating to say the least and they are so valuable. Spending time with my clients is also inspirational for my art.

Forest (Silhouette Series), Oil on canvas, 91.3 x 91.3cm, 2013

What themes do you pursue in your work?

Using my multicultural background as a spring board, I explore themes of nostalgia, heritage, nature/nurture, trauma, longing and belonging. Being Korean by birth, my exterior appearance is different from the ‘blonde, blue-eyed Swedish personality within, and cultural identity has become the main focus in my art practice. Although my work stems from my personal story, I also want it to be general and universal so the viewer can identify themselves partly or fully, based on their own personal story. There are also far reaching aspects to what I’m saying that I want to address – I wish to inspire the viewers to reflect on their own identity which can stimulate an increased awareness of the cultural identity of others. My aim is to help break down stereotypical and pre-conceived ideas. I am interested in people’s life stories and experiences which have made them who they are.

What role do you think artists have in society?

I believe there are several roles you can have as an artist. One is to only paint for your own wellbeing and pleasure. Another is to be a passionate art teacher spreading the pleasure of creating in a school or directly into the community through creative projects and events. Another is to convey a message close to your heart, whether it be a political or social stance or a subject matter that means a lot to you. Whatever the reason is for you to create, it will have a positive effect on society as a whole, like a ripple effect. The artist’ role in society is very important. Art is often seen as a less important subject in school and less valued in society. Although a combination of more traditional skills and a creative mindset is becoming more and more sought after in the job market in the near future.

Cultural Nomads, Oil on canvas, 57.5×45.5 cm, 2014

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

After 16 years of working in Telecom and TV/Media while raising my two (step) sons in Singapore, I was desperate to create again and I wanted it to be more than a hobby. I started by learning silk painting/batik from a local lady but I’d been wanting to learn oil painting for a long time and started to take lessons from an Australian artist, Lydia Miller, once a week. It was a new world that opened up and I fell in love with oil painting. When my sons were in their late teens, I moved to London on my own to finally pursue an education in fine art. It felt fantastic to be able to focus on something just for me that I loved. I sent 4 years in art education – I worked hard and was inspired to be surrounded by like minded, amazing art tutors and students who studied sculpture, stone or wood carving and art conservation. I thrived being in multicultural London with its fantastic plethora of art and exhibitions.

Why art? What does creative work give to you?

I have been drawing ever since I could hold a pencil. I remember drawing in a mail order catalogue while my mum was feeding me when I was a toddler. I was creating and drawing throughout my childhood. My favourite subject in school was Art and I was always happy when I was creating. Art is an expressive language which can be used to convey our inner feelings and thoughts whilst still allowing the viewers to interpret it the way they wish to. There is no right or wrong when it comes to art, it has a value in itself. I am a member of a few London based art groups such as and Chrom-Art which are very genuine and immensely supportive. They are truly there to lift us emerging and upcoming artists up and give us a platform to create. I am co-curating a booth, “Fabrication of Self” (@fabricationofself on IG), for a group of 8 ArtCan artists at Stockholm Art Supermarket 2020 (which has now been postponed till 2021). My co-curator and I have more or less free rein to create a stand based on the Supermarket theme of 2020, which is “Fabrication”. The faith and support from ArtCan and its founder Kate Enters has been phenomenal. Art makes me happy and I am in my right element when surrounded by it and emerged in it.

Would you say that you have an artistic outlook on life?

I am a very organised person and having worked in the office environment for many years, I am methodical and practical. I’d say that I am in the middle of the spectrum being able to use my common sense and logical thinking mixed with a more creative approach. I often see colour in nature and my environment that I photograph as a note for later and I believe that happiness is key in life and balance is good to strive for in most things.

The Red Ladder, Oil masking tape tracing paper resin on canvas, 57.5×45.5cm, 2014

What inspires you?

Apart from my cultural heritage and having lived overseas in different cultures for over 24 years, I’d say that nature and contemporary artist’ work on Instagram are the main sources of inspiration for me. Meaningful conversations and people’s life stories also inspire ne immensely as I value learning from others. I want to gain life experience – to understand different life situations that can enrich me and broaden my horizon and hopefully make me a better person.

What would be your dream project?

A big multi-disciplinary exhibition with cross-collaborations, and talks and classes by specialist in their field on identity in general, cultural identity in particular. I have planned it for years. The aim is to spread creativity as well as knowledge and tolerance in society about people from all cultures and traditions.

The Space In between Spaces (Cultural Nomads), Oil on board, 52×40.5cm, 2019

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

To not compare yourself with others but only with yourself and not worry if you don’t create for a period of time. Also, that even moments of not painting are important parts of the whole process of creativity.

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

I think a vision, a dream or aim is something that will keep that special hunger to express yourself alive but I do not think you have to have a goal in order to create in general. Perhaps the goal is the joy of creating, as a pleasure or an outlet. In me case, I am very passionate about my subject matter cultural identity and what it means in today’s society, how we can investigate it and use it to stimulate to conversations, and to built bridges between cultures and classes in order to bring us all together. For me art is inclusive and there for everyone. You should not have to have an art history degree in order to feel entitled to create or visit an art gallery. I have also seen parents tell their children off if their drawing doesn’t look realistic or render an object “correctly”. It hurts me to see someone with plenty of imagination and joy for creating perhaps permanently abandon this important outlet due to a comment. Art is there for everyone.

What could you not live without as an artist?

Oil paint and certain mediums such as Roberson’s glaze medium and liquin and beautiful brushes.

Pernilla Iggstrom in front of her painting “Untitled (Purple and Beige)”.

Where to follow Pernilla Iggstrom: