On February 24th 2020 is placed the interview 'Pauline Nijenhuis: From conception to creation' which is about the project HAND@WORK by the populair international TextileArtist.org (UK), 2020.
Newspaper article about the retrospective exhibition 'Snelheid Verstilt' in Dat Bolwerck, Zutphen. Visualartist Pauline Nijenhuis versus the embroidery machine. In this rushed world do we still take the time to ...... embroider? Pauline's motives for this chosen technique. And why an embroidery contest at the opening at March 15th?
Reopening due Coronacrisis: June 3th until July 12 th 2020
De Stentor. Photo: Jeroen Jazet.
TxP (Textile Plus), magazine about textile art, in this winter issue 2019, TxP is about embroidery technology and how it is applied by (inter) national textile artists. Including Pauline her research in the embroidery project HAND@WORK, see pages 20, 21 and 22. Moniek Spaans delves into this research and tells about this in her article "Irreplaceable", the project in which Pauline Nijenhuis searches for her right to exist.
Also at the site of TxP more to read, a bonus. More interview
In February 2020, the entire article may be placed on this site at item reviews/publications.
Page 42
Pauline Nijenhuis makes photos, textile paintings and installations. In her work she investigates the consequences of the acceleration in our society. To be seen at the exhibiriont at the Centrum Beeldende Kunst, De Fabriek, in Emmen. Read the entire article
Photo's: Joep van Ruiten.
Embroidery Magazine of January 2019 has published an interview with Pauline by curator Jane Audas. Embroidery follows Pauline's work for some time. The interview (page 16 to 21) offers a complete overview of Pauline's art work and future plans. Jane Audas talks about the theme in Pauline's work: the demands that modern life places on humanity. Especially the intersection between humanity and the technologically driven environment. And the question which Pauline asks herself in her project Fast Work, Time Consuming Landscape whether there will be room for work made by hand in the future. "Jane was very curious and asked a lot. For example why my work has not yet been shown in the UK. I am also very proud that my work is on the cover of this issue! "Embroidery Magazine is released in print and digital in Great Britain 6 times a year. It focuses on contemporary art and design on an international level. Jane Audas is curator of exhibitions in museums about design and craft.
With courtesy of Embroidery Magazine
Digital version Joke de Wolf 10 april 2018 - 18:43 uur.
Museum in Gorinchem.
In Newspaper TROUW 'Embroidery is hip: modern artists also like to use needle and thread' by Joke de Wolf April 10, 2018 - 6:43 PM.
'...... At Pauline Nijenhuis it is the other way around: even the curator has to look twice to see that not all the wires you see are wires, but that there are also stripes of paint between them. The image almost sucks you in: Nijenhuis makes her work of photos of speed. Working with yarn arose when she moved back from the Randstad to the countryside and she could not express the softness of the grass in paint. She had not embroidered since kindergarten, but it turned out to have exactly the effect she needed. And although it is basically a very traditional technique, there is nothing sluggish about her work, the industrial images of an airport or a highway are too modern for this, and the use of color is too surprising".
'Voor de draad ermee' exhibition 'The art of embroidery', until 9 September at the Gorcums Museum in Gorinchem.
Dutch newspaper 10 oktober 2014, page PS4 - about the exhibition 'Textile Architecture' Textile Architecture te XS ARCAM Market, Amsterdam.
Translation: 'To embroider a painting requires angelic patience. Fortunately, Visual artist Pauline Nijenhuis has this property. She paints and embroiders landscapes since her move from the surroundings of Rotterdam. For the art work Fast World she took pictures on the highway at different speeds. The next step she painted and embroidered the work with the finest paintbrushes. 'It is chopping in the sand and looking for a process that is as slow as possible. The material is part of the message '. She works about seven months on a work, in the past even longer. In Fast World, the rush of the highway is in contrast with the time it takes to create a work of art. 'The speed in society is increasing. It is interesting that people decide differently after a night's sleep than when they have to choose immediately '.
Pauline Nijenhuis makes textile paintings in which she reflects on the contemporary urban environment. The combination of the speed of the modern city and slowness of the embroidery makes these art works an 'oxymoron' - an unity of contradictions.
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Textile paintings by Pauline Nijenhuis CBK Emmen. The increasing speed in our western world has a lot of influence on what our environment looks like through automation processes, the use of robots and the multimedia. What impact does increasing speed have on our perception? Will our brains still be able to follow fast images in the long term? And what are the consequences of this? Are our hasty decisions the right Pauline Nijenhuis wants to investigate this as an artist. Read more. Read more.
The blog artyembroidery publishes news on contemporary art embroidery. Editor Mique Menheere just posted a review on Pauline's book 'Project Fast Work - Time Consuming landscape'.
Mique writes in her blog: "In 2017 mixed media artist Pauline Nijenhuis (Zutphen, The Netherlands) carried out the project 'Fast Work, Time consuming Landscape'. In 2018 a booklet about this project was published. If you haven't been able to see the project, this book is a perfect way to get a good impression of it." To Mique, as a former career coach, the conclusions of Pauline's research are very interesting. "Lots of employers implement reduction of employees and increase profit targets at the same time. When you transfer Pauline's conclusion to the average working place.... I think you could say that time pressure above a certain amount, has a negative impact on the employees and their health."Furthermore she suggests:"How great it would it be if this theme would be academically researched by psychology faculties of universities. To find out if stress is indeed above all an individual personal problem. Because that seems to be the current opinion about this topic in lots of organizations." More on Pauline's project you can read here
About exhibiton Fiberart International 2016 Pittsburgh Center for the Arts Society for Contemporary Craft
'In contrast, by Pauline of the Netherlands also deserves special mention. As the terminal side of an airport runway, the subject is seemingly banal. Yet the finely woven articulation is exquisitely refined in color and resolution, with delicate patterned gradation within the embroidery, making no small reference to the tall skies and surgical details of more traditional Dutch landscape. It is strangely reticent, yet very stirring. It rewards close scrutiny as it wavers among abstraction and representation, tactility and visual depth. In this work and the show as a whole fiber arts are as vibrant and versatile as the curators assert. They weigh in on any issue of contemporary artistic expression, with medium specific materials and traditions, all while maintaining their richness'.
Interview Pauline Nijenhuis: Man and machine by Sam Pitcher
Dutch artist Pauline Nijenhuis uses acrylic paint and embroidery on untreated linen to explore the conflict of inertia, speed, hardness and softness.
Pauline Nijenhuis grew up in a wooded area near Arnhem and studied at the academy CABK in Kampen. After that she lived and worked for a long time in the Randstad, where her longing for the wooded landscape from her youth led to paintings and installations in which she explores personal and general ideas about the forest. Since returning to her native region in 2007, her interest in the forest has shifted to the landscape in a broad sense. Central to this is observation. In our world focused on speed and efficiency, we are constantly on the move and we view the landscape fleetingly and superficially from a car, train, plane or other means of transport - if we look at that landscape with our own eyes, because many images come out via (digital) mass media the third hand to us and we often experience a filmed / photographed and digital reality as just as 'real' or even more real than the physical world around us.
In contrast with this quick and detached observation
is the tradition of painting, in which images are created slowly and from the physical action. Working from a broad view of painting - in which there is also room for embroidery and collage techniques and the image sometimes extends beyond the boundaries of the canvas - she responds to the changed perception of the urban and natural landscape. Slowness and speed, hardness and softness meet. The works include the shutter speed of the camera, the speed of the car and the rhythm of screen pixels, as well as the fine hatching from Rembrandt's etchings.
Stephanie Jansen
Press and news agency and visual artist
