slaats artist

THE ARTIST

Miriam Slaats graduated from the Dutch Academy of Expressive Arts in Maastricht in 1988. Her career could certainly be referred to as successful. Her work is exhibited both at home and abroad. Collectors can be found across the globe and her art also forms part of leading commercial and private collections. The artist has been awarded a range of commendations over the course of time and has attracted much journalistic coverage too.

SHORT HISTORICAL SUMMARY

The early paintings of Slaats emanate pace and a colourful, cheerful positive energy. In 2006, a serious personal event turned her colour palette darker and made shapes stronger. Thereafter, in 2007, Slaats rediscovered her path in the intensity of whites. Her last works sowed the seeds for the line to new and innovative work.

In addition to her comprehensive painted body of work, Slaats has also studied a range of disciplines including bronzes, photography, resin objects and paper materials. She also plays with the written word. Uncovering the various opportunities has become vital and forms the foundation for the surprising and entirely new, three-dimensional working method: Slaats’ BLOB art. In summer 2012, the artist presented her eye-catching contemporary 3D objects to the public at large.

 

BLOB ORIGINS AND PROCESS

The new path taken by Slaats is characterised as liquid art, not measured out in terms of form, but a representation of the desire for unbridled freedom. It is the interaction between the transience and unpredictability of our current times as experienced by Slaats. Her contemporary objects are fanciful of form and thus relate back to the lines that we can also find in BLOB Architecture (BLOB Bi-linear Object, a term that was first used in 1995 by the American architect Greg Lynn). The Guggenheim Museum in Bilbao is a classic example thereof. If we continue this parallel to the current 3D objects created by Slaats, it is not so strange that we regard these as BLOB art.

When manufacturing an object, Slaats makes use of industrial techniques; her place of work is the factory. In an interim phase of production, the artist encroaches on the development process. Slaats constructs her characteristic contour-based language from very hot poly-substances which often originate from petroleum but also from other, recycled raw materials. The material’s plastic malleable moment is short and requires alertness and rapid shaping. Slaats explains that this also makes it exciting and is precisely why it fascinates her.

Her new pathway is both surprising and remarkable. It is not only a personal breakthrough for the artist but is also a breakthrough in terms of the evolution of art. The objects are honest and free, industrial materials in their purest form, offset against the transience of and elements from the current life. The BLOB provides the viewer with an exciting image-based dialogue. A dialogue that agitates, presents question marks and reflects our interpersonal society.