SELECTION OF WORKS
>> 2015-2020

Rozemarijn Westerink - Garden, pen, ink and graphite on paper, 50 x 65 cm, 2019

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2019


GARDEN

✎ pen and ink / graphite on paper
✎ 24 x 16 cm / 50 x 65 cm
✎ 2019

Rozemarijn Westerink - Cascade, pen and ink on paper, 24 x 16 cm, 2019

Rozemarijn Westerink - Cascade, screenprint on paper, 24 x 16 cm, 2019

Rozemarijn Westerink - Cascade, pen and ink on paper, 24 x 16 cm, 2019


CASCADE

✎ pen / ink on paper
✎ screenprint on paper
✎ 24 x 16 cm ❖ @ PLAATSMAKEN ARNHEM

Rozemarijn Westerink - Cascade, found footage and photography, 2019

Rozemarijn Westerink - Cascade, screenprint on paper, 19,8 x 14,7 cm, 2019


CASCADE

❖ screenprinted book @ PLAATSMAKEN ARNHEM
❖ edition 50
❖ text Inge Pollet
❖ typography Choi Wong

Rozemarijn Westerink - Cascade, screenprinted book, edition 50, 2019

Rozemarijn Westerink - Cascade, screenprinted book, edition 50, 2019

Rozemarijn Westerink - Cascade, screenprinted book, edition 50, 2019


Cascade

Dark gardens in absorbing black

In Rozemarijn Westerink's gardens, you never walk alone. To your left hang memories of dark trees. It's a stroll over paths that have no end, and new memories continuously get caught on your sweater like budding twigs on gritty shrubs. Your tread here is simultaneously light and heavy. Everywhere you look, there are shadows, beneath the trees, in a colour that must have been green before. It's a familiar picture. There are fields and flowers reduced to only stems, from which you can make out a heart. Suddenly you're standing in a black and white photographed backyard straight out of a real estate website. There are shadows and secret places for shelter. Each branch is drawn with equal precision. The garden leads you through all kinds of chambers in your head. It shimmers quietly as a whisper. If you turn right over there, by the bushes, you'll find a cascade. Downstream, the shells call out to be touched. Take me, reimagine me, remember me. Next, there are children jumping into the water, yelling. An aura of drops surrounds the little boy's head. Where have you seen him before?

Now you're feeling your way towards the water, your eyes closed. It flows, it falls, it goes on and on. Soft shapes with sharp edges are floating half below the surface. You pick them up, hold them in your hands. Spread them out on the sheet of your language, paint them with all of your senses. There is a castle surrounded by a tremendous garden with wobbly bridges and water jets flying up, startling you. In the grass lie black butterflies and more shells. The birds are silent. The evening is far away, time is nothing but a fluid idea. You can only simply be here, immerse yourself in this comfortable darkness which gently yet forcefully envelops you. You close your eyes, come, embrace me, night.

At Plaatsmaken, Rozemarijn worked on a series of silkscreens based on the cascade of Rosendael Castle. She visited that particular place a number of times in her life, both physically as well as imaginatively, through stories. This theme fits seamlessly with her earlier series of garden drawings. The falling water intrigued her so much, she decided to screen print on textile in order to obtain that movement in the work. The repetitive pattern of abstracted shells evokes alienation, but also a longing for security. You can wrap the cascade - and with it time, which cannot be captured - around you like a comfortable mantle. She also printed these patterns on paper, ending with a transparent layer. This way, the water even penetrates the black surface. With this new step in her work, she has literally expanded her universe, from the garden to the water, from the water to a flowing spring.

Inge Pollet

Rozemarijn Westerink - Cascade, exhibition view, Plaatsmaken Arnhem, 2019, photo: Peter Cox

Cascade, screenprint on textile, 1000 x 300 cm, installation view, Plaatsmaken, Arnhem, 2019


CASCADE

SOLO SHOW @ PLAATSMAKEN
❖ screenprints on textile and paper
❖ installation view / 300 x 1000 cm ❖ photography Peter Cox
❖ 31.10 - 24.12.2019
❖ ARNHEM

Cascade

Duistere tuinen in aanzuigend zwart

In de tuinen van Rozemarijn Westerink loop je nooit alleen. Aan je linkerhand hangt de herinnering aan donkere bomen. Het is een wandeling op paden zonder einde, en steeds haken er nieuwe herinneringen aan je trui als ontspruitende takjes aan een kordate struik. Je loopt er licht en zwaar tegelijk. Overal waar je kijkt zijn schimmen, onder de bomen, in een kleur die eerst groen moet zijn geweest. Het is een vertrouwd beeld. Er zijn velden en bloemen die alleen nog stengel zijn en waarin je een hart vermoedt. Opeens sta je in de zwart wit gefotografeerde achtertuin die je op Funda voorbij zag komen. Er zijn schaduwen en geheime plekken om te schuilen. Alle takken zijn even precies getekend. De tuin leidt je door allerlei kamers van je hoofd. Het schemert er fluisterstil. Als je bij de struiken daar naar rechts gaat, is er een waterval. Stroomafwaarts roepen de schelpen om aanraking. Neem mij, bedenk mij opnieuw, herinner mij. Daarna zijn er kinderen die joelend in het water springen. Het jongetje heeft een aura van druppels om zijn hoofd. Waar zag je hem eerder?

Nu met je ogen dicht op de tast naar het water. Het stroomt, het valt, het gaat maar door. Er zijn zachte vormen met scherpe randen, half onder het oppervlak. Je raapt ze op, houdt ze vast. Spreidt ze uit op het laken van je taal, schildert ze met al je zinnen. Er hoort een kasteel met een ongelooflijke tuin bij, met wiebelige bruggetjes en oprispende waterstralen die je doen schrikken. In het gras liggen zwarte vlinders en nog meer schelpen. De vogels zijn stil. De avond is ver weg, tijd is alleen nog maar een vloeibaar idee. Je kunt niets anders dan hier zijn, dan je onderdompelen in deze comfortabele duisternis, die je zacht maar dwingend omsluit. Je sluit je ogen, kom maar, omarm mij, nacht.

Rozemarijn werkte bij Plaatsmaken aan een serie zeefdrukken, gebaseerd op de waterval van kasteel Rosendael. Die specifieke plek bezocht ze in haar leven een aantal keer; zowel denkbeeldig via verhalen als fysiek. Dit thema past naadloos bij haar eerdere reeks tekeningen van tuinen. Het vallende water intrigeerde haar zo, dat ze besloot op textiel te zeefdrukken om op die manier de beweging in het werk te krijgen. Het repeterende patroon van geabstraheerde schelpen wekt vervreemding op, maar ook een verlangen naar geborgenheid. Je kunt de waterval en daarmee de tijd die niet te vangen is, omslaan als een comfortabele doek. Op papier drukte zij ook deze patronen en eindigde met een transparante laag. Zo dringt het water zelfs op het zwarte vlak door. Met deze nieuwe stap in haar werk heeft zij letterlijk haar universum uitgebreid, van de tuin naar het water, van het water naar een stromende bron.

Inge Pollet

Rozemarijn Westerink - Cascade, exhibition view, Plaatsmaken Arnhem, 2019, photo: Peter Cox

Cascade, exhibition view, Plaatsmaken Arnhem, 2019

Rozemarijn Westerink - Cascade, pen, ink and graphite on paper, 70 x 90 cm, 2019

Cascade, pen, ink and graphite on paper, 70 x 90 cm, 2019

Rozemarijn Westerink - Cascade, screenprint on paper, 70 x 90 cm, 2019, photo: Peter Cox

Cascade, screenprint on paper, edition 4, 70 x 90 cm, 2019


Cascade

Jardins obscurs en noir aspirant

Dans les jardins de Rozemarijn Westerink vous ne marchez jamais tout seul. Sur votre main gauche il y a le souvenir dans les arbres foncés. C'est une promenade sur des sentiers sans fin et toujours de nouveaux souvenirs s'accrochent à votre pull comme des branches germant d'un buisson avec fermeté. Vous y marchez d'une façon légère et lourde en même temps. Partout où vous regardez il y a des fantômes, sous les arbres, dans une couleur qui devait être verte avant. C'est une image familière. Il y a des champs et des fleurs qui ne sont que des tiges et dans lesquelles vous supposez un cœur. Soudain vous vous trouvez dans une arrière-cour photographiée en noir et blanc que vous avez vu passer sur le site Funda. Il y a des ombres et des endroits secrets pour s'abriter. Toutes les branches sont dessinées aussi précisément. Le jardin vous mène à travers toutes les pièces de votre tête. Le crépuscule y est parfaitement silencieux. Si vous passez à droite près des buissons, il y a une cascade. En amont les coquillages appellent pour être touchés. Prenez- moi, imaginez -moi de nouveau, rappelez-moi. Après il y a des enfants qui sautent dans l'eau en criant. Le petit garçon a une aura de gouttes autour de la tête. Où l 'avez - vous vu plus tôt?

Maintenant, aux yeux fermés, au toucher vers l'eau. Elle coule, elle tombe, ça continue. Il y a des formes douces avec des bords aigus à moitié sous la surface. Vous les ramassez et les tenez. Vous les étalez sur le drap de votre langue, les peignez avec tous les sens. Et un château avec un jardin incroyable en fait partie, avec des ponts vacillants et des jets d'eau éructants qui t'effraient. Dans l'herbe il y a des papillons noirs et d'autres coquillages. Les oiseaux sont silencieux. Le soir est loin, le temps n'est qu'une idée fluide. Vous ne pouvez rien faire d'autre que d'être ici, que de vous immerger dans une obscurité confortable qui vous enveloppe doucement mais contraignant. Vous fermez les yeux, venez donc, embrassez-moi, la nuit.

Chez Plaatsmaken, Rozemarijn a travaillé à une série de sériegraphies basée sur la cascade du château de Rosendael. Elle a visité ce lieu spécifique plusieurs fois dans sa vie; aussi bien de façon imaginaire par des histoires que de façon physique. Ce thème convient parfaitement à sa série précédente de dessins de jardins. Les chutes d'eau l'ont tellement intriguées qu'elle a pris la décision de faire des sérigraphies sur textile afin de créer des mouvements dans son travail. Le motif répétitif de coquillages abstraits provoque une aliénation, mais également un désir de confort. Vous pouvez mettre la cascade et en même temps le temps, qu'on ne peut pas attraper, comme une toile confortable. Sur papier elle a imprimé aussi ces motifs et elle a fini par une couche transparente. De cette manière l'eau pénètre même sur la surface noire. Avec ce nouveau pas dans son travail, elle a élargi littéralement son univers, du jardin vers l'eau, de l'eau vers la source qui coule.

Inge Pollet

Rozemarijn Westerink - Cascade, screenprint on textile, 40 x 150 cm, 2019, photo: Peter Cox


CASCADE

✎ screenprint on textile
✎ 40 x 150 cm
✎ 2019
❖ @ PLAATSMAKEN ARNHEM ❖ photo: Peter Cox

Rozemarijn Westerink - residency @ Plaatsmaken Arnhem, 2019


RESIDENCY @ PLAATSMAKEN
❖ screenprint studio
❖ fall 2019
❖ ARNHEM

Rozemarijn Westerink - Garden, pen and ink on paper, 20 x 20 cm, 2018

Rozemarijn Westerink - Garden, pen and ink on paper, 19 x 24 cm, 2018

Rozemarijn Westerink - Garden, pen and ink on paper, 29.5 x 42 cm, 2018

Rozemarijn Westerink - Garden, screenprint on textile, 88.5 x 126 cm, 2018


GARDEN

✎ pen and ink on paper /
✎ 20 x 20 cm / 19 x 24 cm / 29.5 x 42 cm
❖ screenprint on textile / 88.5 x 126 cm
✎ 2018

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 24 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 50 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 50 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 50 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 50 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 32 x 50 cm, 2017


GARDEN

✎ pen and ink on paper /
✎ 32 x 24 cm / 16 x 24 cm / 32 x 50 cm
✎ 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 16 x 24 cm, 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 50 x 65 cm, 2016


GARDEN

✎ pen and ink on paper /
✎ 16 x 24 cm / 50 x 65 cm
✎ 2016

Rozemarijn Westerink - Tide, residency @ K.F. Hein Fund Utrecht, 2018


GETIJ / TIDE

❖ mural & publication i.c.w. Marisa Rappard
❖ edition 1000 offset / text Diana Wind / design Jan Pieter Karper / photography Peter Cox
❖ K.F. Hein Fund UTRECHT
❖ 2018

Rozemarijn Westerink - Tide, publication, edition 1000, K.F. Hein Fund Utrecht, 2018

Rozemarijn Westerink - Tide, installation view, K.F. Hein Fund Utrecht, 2018, photo: Peter Cox

Passage to a different reality

The pavilion enclosed in the K.F. Hein Foundation's garden in Utrecht has been the scene of an intensive collaboration between artists Marisa Rappard (1979) and Rozemarijn Westerink (1982) from February until April 2018. The result is a large mural, 10.84 metres long and 2.3 metres high. The location is an inviting and pleasing setting in which to immerse oneself in the experiment they conducted. From the adjacent garden you can hear the sound of water splashing in the fountain and the birds chirping that spring has arrived. It was an exchange of work during a studio visit that gave Rappard and Westerink the idea of submitting a plan to the K. F. Hein Foundation for the making of a large mural in the pavilion. Such an exchange involves choosing from each other's work and making a selection from the drawings the other artist makes available: it's an intimate experience. During that process, they discovered the differences and similarities in their work and methods. They felt there was an opportunity there for furthering their individual development through collaboration.

Rappard and Westerink call the project Tide (Getij), an appeal for openness to all that is unpredictable and unexpected. What they find exciting and valuable in the collaboration process is the interaction between letting go in order to let the other person in, while still staying true to yourself, and the expectation of being able to move on personally. One similarity between the artists' working methods is that they both continue to draw, almost as if possessed, until it's no longer possible, in an attempt to let the drawing get out of hand. There's also an important similarity between the content of the artists' work: both have mysterious connotations in their drawings.

In Rappard's work, you see open spaces occur in a tangle of lines and waves, spaces in which you can disappear only to appear in a parallel world. While drawing, she takes on the role of a visionary looking through time. Her unbridled flow of lines reminds one of an endless stream of concealed incidents. Westerink's drawings of gardens are so intensely dark that every sliver of white seems to transform into magical light. That gives an almost disquieting feeling in some parts. Her drawings stem from a yearning for the impossible; holding on to certain moments, places or times so that they seem to show a reconstructed reality.

One clear difference in their work is that Rappard builds up her drawings from areas of light colours and line structures, while Westerink's drawings are mainly figurative and worked in deep black. These similarities and differences can be clearly seen in the mural that has come to fruition in the last months: both the individual signatures and their total merging are visible. The intention of moving towards each other, while staying true to themselves and developing personally is present along the entire wall. The artists literally worked towards each other: Westerink from the left and Rappard from the right. The left side of the wall is strongly figurative and dark, while the right side is abstract and light. Westerink pushes the drawing on towards Rappard with a rigorous gesture and Rappard's abstract patterns break the drawing open. It is as if the gravity that affects the tides has literally had an effect here.

The two artists come together in the middle of the drawing. A symbiosis occurs which strongly emphasises the mysterious aspect of both artists' work. There are many points at which you, the spectator, almost actually disappear into the drawing, like when the path following the pine trees disappears into the waves coming up from the underlying swimming pool. Caravans drawn by Westerink emerge here and there from Rappard's abstract lattice patterns and reappear as an echo somewhere else, in a more abstracted form. It's a beautiful game of assembly and disassembly, just as the constant rise and fall of a tide.

An exciting and impressive mural has been created during the three months that Rappard and Westerink collaborated. The work is temporary in nature, but has been captured forever in this leporello. What does endure is that which the artists have learned from each other, through the scope they have given each other and the openness with which they embraced this collaboration.

Diana Wind

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 16 x 24 cm, 2016


GARDEN

✎ pen and ink on paper /
✎ 24 x 16 cm / 16 x 24 cm
✎ 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 50 x 65 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 50 x 65 cm, 2017


GARDEN

✎ pen and ink on paper /
✎ 50 x 65 cm
✎ 2017

Rozemarijn Westerink - Rampant drawings, installation view, Extrapool Nijmegen, 2016


RAMPANT DRAWINGS

❖ charcoal on wall /
❖ Extrapool NIJMEGEN
❖ 2016

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 32 cm, 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 32 cm, 2017


GARDEN

✎ pen and ink on paper /
✎ 24 x 32 cm
✎ 2017

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2015

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2015

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2015

Rozemarijn Westerink - Garden, pen and ink on paper, 24 x 16 cm, 2015

Rozemarijn Westerink - Garden, pen and ink on paper, 16 x 24 cm, 2015


GARDEN

✎ pen and ink on paper /
✎ 24 x 16 cm / 16 x 24 cm
✎ 2015




© 2020 RW