I like to create installations for one specific location. Inside or outside. I let myself be led by the environment. My work is a reaction on what shows there. Or to what does not show, as an invisible presence. The reaction of my work on what surrounds it, and the reaction of what surrounds on my work. (Click on title for close-up).

dated 2007 until 2021 (click on an image to enlarge an artwork)
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Stockpiling for winter


This work arose during my work stay in Drenthe NL, October 2021.   October, the season of change. Trees slowly drop their fruits and leaves. I see a Flemish jay busy collecting and hiding its winter stock. What about my winter stock? For my ancestors, it was vital to take their winter supplies off the land and store them safely in order to get through the winter. To be stored in Cologne pots, to be stored in weck bottles.   Which brings me to a personal version: I make pots and bowls to preserve this year's fruits. They are made of wool, a traditionally naturally available material. To store what summer has given and thus be able to get through the winter.  

Painful Rest


During one of my trips I suddenly see a small bench in an unexpected spot. It looks attractive, I am tired and really would like a rest. I hear the singing of a nightingale: remarkable! When I come closer, I see a construction of the most elegantly sculpted timber. The sitting and back part appear to be made of thorny rose branches. Ai, that hurts!  

The Dish


This intallation is as a living still life. The meal has been consumed. The guest has left. Time does its work. 

Women's Hands


Installation in commission of Textielfestival Twente 2021. 'Women's Hands' emerges for the memory of my mother and grandmother. I see their hands busy with an extremely thin crochet needle and yarn. They were proud of the rugs that they created and they put them on different well visible spots in the house. Their 'legacy' was made by a number of these rugs which they made with te patience of angles.  In later years I understood that my memories were not unique. Many people have similar memories of their mother, grandmother, neighour, ant.   I collected a large number of these rugs. In different techniques. Made by many mothers, grandmothers, neighbours and ants. They come from all kinds of personal legacies and that way cary a piece of personal history of the givers.  In the installation 'Women's Hands' I lift these rugs one by one and put them on a small socle. This way, they start their own life. Liberated from the furniture they were once  made for.  One can walk around and through the installation. Surrounded by the history of our crafting 'for-mothers' and the objects they created. The time and the patience of angels they invested in these works come back to the place where they belong: untied from oblivion, placed on small socles, erected in the natural environment of Twente (NL). A piece of heritage they visualise.  

SPINNINGS (reprise)


Installation In Situ in commission of Bergarde Galleries, Heerjansdam NL.  In this installation I  I tightened strings, made of crochet with hand spun wool. They make a system, a kind of web. They symbilise the web of experiences that we carry with us, sometimes protecting, sometimes limiting us.  The tightened strings make a protective area. But the SPINNINGS can also move in all kind of directions and that way create 'confusion' in which you get caught up. The material, with its' palpability worms a contrast with this 'confusion'. As an image for our own world; what protects us can also strangle us. And the other way around: what limits us can als protect us. On estate Het Buitenland 'SPINNINGS' found two pollard willows to mould themselves around. They stick with the trees. The trees keep up the spinnings. SPINNINGS and trees are interlaced with each other, who is keeping up who? During the creation I kept a blog, where you can follow the making of this installation from day to day. Click on this link:  http://inevanson.exto.nl/blog_post/290447042_In+situ+aan+het+werk+%28iedere+dag+een+stapje%29+%2F+Working+in+situ%2C+%28every+day+a+small+step%29.html    

...many a long day...


Installation in commission of Een Bunder Kunst, august/september 2018. "Ine wants to put a brake on life. She gets tired of all the hurrying, the running and the superficiality. She wants to take time to really see the world.  For the installation '...many a long day...' she took an old crochet pattern, used in bygone days to make borders in cupboards or bed linen in crochet lace. She used this pattern to crochet her coarse, hand-spun sheep wool.  With this material she fences in a bit of space. To feel a bit more sheltered, to feel a bit safer. She builds this bit of space with the resources that are available to her: wool and time. Like a 'historic', 'womanly' answer to the fastness  and harshness of our world.  Go inside that space. live the security and calmness that reigns there. And if you want, sit down and do a bit of crochet. To live yourself  a bit of 'many a long day'." An impression on YouTube: https://youtu.be/HoeLWfo6-EI

Water en Vuur (Water and Fire)


WATER EN VUUR returns in time, to the beginning of an only seemingly contradiction.   The material, an excavated well from the Iron Age dated in the year 581 BC, is confronted with other archeological material; turf. We have brought words with it. To lead the attention towards the essence of this so remarquable material The opposition between water and fire is only apparant.  The work leans against the wall of a small backing house. That way, the elements Water and Fire are confirmed and enhanced.  The hands of MISS created Water and Fire. MISS is a collaboration between Marion Steur, poet and Ine van Son, visual artist. More information about MISS: http://miss.exto.nl//#.XM6vBvZuJPY

The gathering of the travelling trees (reprise)


In a silent piece of wood an extraordinary event takes place: a gathering of white trees. Through a number of days the gathering grows. More trees arrive; smaller, wrapped in a piece of blanket. As if they have had to cover long long distances. And only their upside is white. Finally some more follow, also wrapped in fabric, but no white at all. In different stages of development. Then suddenly, after a week, they have all left. This is not the first time that the trees went travelling. Last year I already had the privilege to observe them. I a silent piece of wood in France. What has moved these normally steady rooted trees moved to leave on a journey? What events in the world have brought them here together? Installation in situ in Lonneker NL, in commission of KunstenLandschap 2018. Take a look at the video: https://www.youtube.com/watch?v=fQJ96trGEuY      

Emergency Accommodation


In the installation 'Emergency Accommodation' image and sound come together. The image is not complete without sound, the sound is not complete without image. This installation has been created in situ for Vaaggrond 2017/18. Check this link for a video-registration: https://www.youtube.com/watch?v=vS4gZOdaNVI     

...pour qu'Eugène puisse rester...


This installation arose during my AIR in France in 2017, in close collaboration with Emmanuel Memin and Pascale Memin=Lusseau. The hous of my host and hostess Manu and Pascale had to be renovated. The attic was cleared and appeared to carry belongings of former residents. In times past, the house was bought by Pascale and Manu from 'oncle Eugène', an uncle of Pascale. His old bedstead appeared among all kind of objects. Now old stories about his life, his (family) history and therewith the history of the house came to life again. We concluded that the bedstead belonged here. That it is part of this location. And we decided to reserve a spot for in in the courtyard. So Eugène will be able to stay. If he wishes to. More info - blog:  https://inevanson.exto.nl/blog_post/259521181_%27...pour+qu%27Eug%C3%A8ne+puisse+rester...%27.html#.Wky2qY7fIng Take a look at the video I recorded. And feel the special ambiance created by this bedstead with its former owner: https://www.youtube.com/watch?v=Wgy-icZDUIs&t=5s  

l'Assemblée des arbres voyageurs (the assembly of the travelling trees)


'l'Assemblée des arbres voyageurs' arose during my artist-in-residence in France in 2017. A piece of silent woodland. An abandoned caravan, a car-wrack. And there takes place a extraordinary event: an assembly of the white trees. Normally entrenched in the ground, firm. What has urged these white trees to travel to this place? What events in the world has moved them to move and come together? Take a look here at an impression of the installation in moving images: https://youtu.be/Vgd2sb-o-UU

Eau et Feu (Water and Fire)


This installation developed during 21 days, during my artist-in-residence in France 2017. Two circles, one consisting of shells and the other of charcoal. The shells represent the element water, the charcaol represents the element fire. U asked visitors to react to this image; would they want to change the arrangement? Take away or add things? Every day I photographed the image. I reacted to the intervention of others, others reacted to my interventions. This way the image was constantly evolving. Check how this developed on my blog: https://inevanson.exto.nl/blog_post/259798603_Eau+et+Feu.html

Demeure transitoire, cuisine provisoire (Transitory dwelling, provisional kitchen)


‘Demeure transitoire, cuisine provisoire’ arose during my artist-in-residence in France in 2017. What do I do when I have become adrift? Make a niche where I will be able to find some kind of shelter. A spot to prepare some kind of a meal. To find a bit of warmth. Easily to break up and to move on. Take a look here at an impression of the installation in moving images: https://www.youtube.com/watch?v=jtEo0KuOp2U&t=6s

SPINNINGS, transitory settlement


For the installation 'SPINNINGS, transitory settlement' I tighten strings in the area. The strings are made of crochet with hans spun wool. They make a system, winding around present attachment points. This way a more or less open inner space arises which offers a kind of protection. Like a nomad I create this temporary settlement. Using the material available to me: vulnerable, ephemeral. The settlement is temporary. For someone who uses it for a short time, than breaks it down and moves on. The material has a long history of manufactering clothes, blankets, accommodation. I try to go back in history to the use of textile for creating protection. The installation is created in situ in commission of Kunstschouw 2017 in windmill De Graanhalm in Burgh Haamstede NL. A video-impression of this installation you can find here: https://www.youtube.com/watch?v=1_xTh8RcLgs Marion Steur passed time in the installation and a poem was born:https://papierenvliegtuig.exto.nl/kunstwerk/248192504_Spinsels.html



'DELIVERY ROOMS', an installation in the orchard of Kasteel Geldrop NL. For 'DELIVERY ROOMS' my starting point was the orchard at castle Geldrop. This place means food supply for the residents and users of the castle, the garden and the fields around.  An orchard is like a 'delivery room' for fruit. Maybe physical fruit, like apples, pears and other fruit. Or nuts. But it can also be the 'delivery room' for other food: animals lodge there, birds, mice, carnivores. They too use this place to eat, they too make their nest there and get their young ones, and they too are being eaten by other animals. But the orchard is also 'delivery room' of non-physical fruit: ideas, dreams, plans for the future, memories of times past. The orchard is a good place to linger, one can subside there. Isn't that the way ideas are being born? For a video-impression of this installation, please check my channel: https://www.youtube.com/watch?v=HXcjaIsJcP8&index=2&list=PLcOr0tG1LkQdUMXWyS-bXnN5B1Y48v_OC&t=5s

The Conclave... or the story of the skulls, the empty nests and the yellow seed...


Installation, in situ devoloped at Vaaggrond 2016/17 in Oerle, Netherlands (www.vaaggrond.nl).   For this conclave skulls came together around bird’s nests. The purpose of this assembly is uncertain; deliberation about death that appears not the be the end?, about the emptyness of the bird’s nests?, about the cross reference towards new life?, but is it here in this desolation? The seedbuds of poppies ceased blossoming, with the colour of light, sun and warmth. Death and new life come together, the circle is closed.    the skulls   the empty nests   the yellow seed              

A smooth landing


Installation, in situ devoloped at Vaaggrond 2016/17 in Oerle, Netherlands (www.vaaggrond.nl).   A tree stump, balancing between heaven and earth. Uprooted. Surrounding trees are supportive. Their branches have prevented its downfall until now. A fragile equilibrium, how long can this floating between heaven and earth continue? The downfall is eventually inevitable.   To smoothen the disastrous crash down, a safety net is stretched. Made of crochet lace. With an extremely thin crochet hook and infinite patience by anonymous women hands. How fierce is this gesture…? How strong can this lace net point out to be…?                                          



In the installation 'SPINNINGS' I tigh strings. The strings form a system, a web, winding itself around present attachment points. Image for the web of experiences that we carry with us; somtimes these experiences protect us, sometimes they obstruct us. Like a kind of spiderweb: ment to eat and to rest, but it can hold you captive too. Here the 'SPINNINGS' have found a tree to mould themselves around. They stick with the tree. The tree holds up the spinnings with its trees. They are like intertwined with the tree; who is keeping who? For a video-impression of this installation, please check my channel:  https://www.youtube.com/watch?v=M_A0R5yd_Ys  

Spun in


In the installation 'SPUN IN' I tie woolen strings. The strings form a system, a sort of web, winding themselves around present attachment points. Image for the web of experiences that we carry with us; somtimes these experiences protect us, sometimes they obstruct us. Like a kind of spiderweb: ment to eat and to rest, but it can hold you captive too. Here the strings have found a bush with in front of it a small bench. They have formed themselves out of the bush downwards and they close in the bench. The bench seems comfortable, but the web of strings leaves little space to sit on. And there where there are no strings, the bush stick out its cutting leaves. For a video-impression of this installation, please check my channel: https://www.youtube.com/watch?v=M_A0R5yd_Ys

WINTERSLEEP ...waiting for an other time...


WINTERSLEEP ...waiting for an other time...      An installation with sheep wool, yellow poppies and 'VERDER', a poem by Rutger Kopland. See my blog: http://inevanson.exto.nl/blog_post/205812111_WINTERSLAAP+...wachtend+op+een+andere+dag...+WINTERSLEEP+...waiting+for+an+other+time....html#.VngA8f9Ij5o      

The colour of music


Photo taken by Betsie van der Kruijs, www.betsievanderkruijs.nl In my work I am often creating ambiance. And I do like it very much to make a big effect with very little resources. Concertorganizer GUO (Groeten Uit Oisterwijk, (https://www.groetenuitoisterwijk.nl/) was looking for somebody to make an inhospitable bare space suitable for atmospheric concerts. I proceeded form the fact that people at concerts do not look at the hall consciously, but that they are very sensitive to the created atmosphere. Creating this atmosphere can be done with very uncomplicated resources. For example with colours, with 'warm' materials, by which the space gets a look and feel of protection. From there I started experimenting. That way, I realised 'The colour of music'. The material, the different fabrics and colours, have a warm connotation which makes that people feel happy in the concert hall. I hope 'The colour of music' will be a support to experiencing 'the sound of music' and to the performance of the artists. The most beautiful compliment to me would be if the artists as well as the visitors will like to be in the hall, without being aware of the reason for that.  



TITANS They all have their dreams. Small people, big dreams. Desires. Utopias. Dreaming about what they would want to be able to, they storm the heaven. Dreaming about how the world could look like. In each others presence they raise themselves and one another. Big dreams of small people. Achievable or utopian. They keep them going. What would the world be without these dreamers? 91 Titans, made of crochet with handspun sheep's wool. In a naive but determined attempt to create a dreamed world by means of unflagging industry. They occupy the room of a small workmans house during Grensloos Kunst Verkennen in De Wijk, Netherlands, september 2015 (www.grenslooskunstverkennen.nl).  

A stone for every life...


Poor sandy soil of Brabant, that is where my ancestors grew up. Where they tried to stand firm in futureless poverty. After my parents decease, my legacy was an old shoe-box with photographs. A shoe-box containing my history; these people preceded me. I do not remember their names. And I can no longer ask my parents. With the installation 'A stone for every life...' I try to give my ancestors space. Although I do not know their names, they are part of me. I put down stones. For every nameless ancestor. This way I want to show respect to those who preceded me. In the area that is theirs: the poor sandy soil of Brabant. I ask visitors to contribute. To put down a stone too. Or something else, an object. For my or their own ancestors. And that way to let them know that they, in spite of their anonymity, have created our history. I made a start: I installed photographs, stones as a gift on this sandy soil. I hope many signs of attention will follow. Those who are not able to visit the exhibition I ask to contribute through my blog: http://inevanson.exto.nl/blog_post/165551527_EEN+STEEN+VOOR+IEDER+LEVEN......html#.VJGjBcKo

Arbres Flottants (Floating Trees)


Arbres Flottants (Floating Trees)
Installation in commission of EnPlein'Art, Cadarcet, Frensh Pyrenees in October 2014 Trees are big and strong, solid.
They direct themselves upwards from the earth.
But in the ground itself they have as many roots
as they have trunk and brances under it.
They are condemned to stay where they are rooted. We admire their strength.
And the fact that they are intransigent.
But when they stand in our way, we cut them... Trees grow slowly.
How would they like it if they had the possibility to move?
To change place, to step aside?
To release themselves from the earth, to float?
To win the battle with gravity..... Trees are like a mirror to us;
we would like to have their intransigence.
And we too would like to win the battle with gravity...   A film-impression of the exhibition, with subtitles: https://www.youtube.com/watch?v=NNsm9KxFi3Y  

Offering of flowers


'OFFERING OF FLOWERS Offered at Kasteel Keukenhof, Lisse, august 2014, in commission of Stichting Kunst in Duin. In this part of Holland, the cultivation of flowers in internationaly known. Too much or too little water has a big influence on the harvest. We try to regulate it. But we stay dependant of nature. Through the ages we did much to keep nature as a friend. Recently by building dikes and digging canals. In the past by bringing offers. So that the harvest would be good and people would not drown. With the installation 'OFFERING OF FLOWERS' I visualise this theme. An offering to nature, of hundreds of crochet flowers. To keep nature as a friend. By means of what I can give: colour and time. An offering of fragments of cheerful beauty. I invited people to work with me to create this 'OFFERING OF FLOWERS'. By working on a crochet flower. So that we would be many to bring the offering. Many flowers, offered by many. I made a blog about the making of the offer, with the help of many. http://inevanson.exto.nl/blog_post/153743610_BLOEMENOFFER%2C+OFFERING+OF+FLOWERS.html#.VA3CDVfp_XT

Places to rest


Installation in commission of Kunst in Duin 2012. This area was once populated by what we now call: 'hunters-collectors'. Or in other words: tramps, nomades, people with no permanent home or address. People for whom the words 'border', 'my land' and 'your land' had a completely different meaning. But they too drew their bounderies somewhere. They made their place to rest into a shelter. Against the world. A safe haven. But how much shelter gives this fragile contruction in an open area? In the installation 'PLACES TO REST' I use this theme: I start from the circomstances in the area and create new places to rest. Trees are the starting point, as a support for the forms that I set up. Therefor I use strips of old textile, material that already has its own history. Material that carries a lot of associations. With these strips I build places to rest; I thighten strips of textile between the trees and this way I create a more or less closed space. A place to rest. Like a fold-away shelter. A safe haven. The material is vulnerable, ephemeral. The place to rest is temporary. For someone who takes a rest and then moves on again. The place to rest forms an accessible inner space, which gives shelter. But the strips can move in all kind of directions, and that way create confusion; difficult to get in. Or to get out. The material, with its colour and its palpability, creates a contrast with this confusion. Like a mirror of our own world: what protects us can strangle us. And the other way around: what restricts us can also protect us.



Installation of 8 frottages. Commission of Stichting Natuurkunst Drenthe as part of the art-walk 'Green revolution', 2007

12 mushroom gatherers


Strange walkers! See their processional Perambulations under low boughs, The birches white, and the green turf under. These should be ghosts by moonlight wandering. ...... Surely these acres are Elysian Fields. Installation in commission of 'Kunst zoekt Boer', Diepenheim 2008



For 'NatuurKunstpark Lelystad 2008', with the theme 'Burl, the primal scream of the artist', I posed 'Sunwindings' at the base of a tree. The work is part of my series 'Sunwindings and Moonbandages'. This series of work was created to be shown on an inside location. It was challanging to me to create a Sunwinding for an outside location, exposed to sun- and moonlight, and the influence of weather. The work stayed on the spot for four months. It was intriguing to see what had happened to the work during that period...



For the art-walk 'Pracht in de Gracht 2009' in Zaltbommel I created the Water-Shelter. Water, one of the 4 elements (earth-air-water-fire). A basic element. A nessecary element for life. Our body consists for a big part of it. Water offers coolness. Water quenches our thirst. We seek out the water for repose. In the meantime water is also an enemy; storm flood, inundation, nuissance. A double role. Friend and enemy. Hate-love, they are close together. So they say. The Water-Shelter has an unclear role. A double role. Who hides in it? What hides in it? A shelter for water? Or against water? A shelter. But how much shelter does this open construction give?

Messages Left Behind


MESSAGES LEFT BEHIND We all feel the need not to stay unnoticed. The need to leave something behind, a sign. A proof of the fact that we were there. A sign for others that we were where they are now. Or a sign for others to let them know that we think of them. In MESSAGES LEFT BEHIND I start from this fact; I leave 'messages' behind, by means of pieces of textile; rags, patches of cloth. Every piece of cloth has its own history; ones it was a piece of a dress, a curtain, a tablecloth. It ones has served its turn that way. Ones casted off, these rags carry that piece of history within. Not always visible, but still perceptible. Like a report on a trip. These textile rags I leave behind; I fix them in bushes, attach them to branches. This way I leave a 'message' behind  for those who will come later. Like a trip from the oblivion. MESSAGES LEFT BEHIND is an installation that arises through the days. I start by leaving textile rags and let myself be guided by what occurs; do I get reactions from people that see me doing it? Do people want to help me? Do people want to add their own 'messages'? Do people want to give me their opinion on how I should or should not attach them? Or does nobody speak to me? Am I noticed at all? What occurs defines the way that the MESSAGES LEFT BEHIND will eventually manifest. I left MESSAGES on the Ecofestival Landen in Amsterdam, octobre 2013.  



Installation created on commission of 'LandArt Diessen 2008' Circle, spiral. Forms created by nature. Also symbols of infinity in forms created by man. Of the turning of the sun, the windings in wood following the sun. Of the growing of annual rings. Of circles in the water.

7 mushroom gatherers


Strange walkers! See their processional Perambulations under low boughs, The birches white, and the green turf under. These should be ghosts by moonlight wandering. ...... Surely these acres are Elysian Fields. Installation in commission of 'Boerol', Maasland 2012