|Profiel||----- Her background
Paméla Maria (Netherlands, 1965) studied classical arts at the Academy of Fine Arts in Hasselt (Belgium). She then studied Industrial Design at the Design Academy Eindhoven, first studying textile with Ulf Moritz and then environmental design with Marijke van der Wijst, obtaining her certificate
in 1989. In 1990, she received a starting grant from the
Fund for Visual Arts, Architecture and Design for the further development of her work. In 1994 she followed a two month summer course at the Domus academy Milan, Italy.
----- In the subsequent years, Paméla worked as a designer and consultant for various Dutch municipal authorities (Amsterdam, Delft, Rotterdam, Nijmegen) and firms of architects, advising on subjects such as town squares, kiosks, street furniture and inner city advertising policy.
From 1992 to 1997 she worked for O'tje Oxenaar at the KPN Art and Design department and was responsible for art&design exhibitions in the Netherlands and abroad, including the World Exhibition in Seville in 1992, the Hidden Collection Communication Museum and various internal and external business presentations dealing with the art and design policy of KPN. After that she worked as an independent design manager on corporate identity projects for various businesses in the ICT, HRM and residential care sectors, among others.
----- In 1998 Paméla chose to focus on her original passion: the visual arts. Her background as a designer can be recognised in her artworks: the ease with which she works with various materials; the perfection; the graphic character; the investigative and experimental character of her work; the photographic eye.
Since then she takes part in (group)-exhibitions at several galleries. She has done art projects for companies such as TBI Rotterdam, Staedion Woning Cooperative The Hague, Solvay Pharmaceuticals Brussels and The Ministry of Defense.
She also works on private commissions. She is a member of the NABK-Pro (national association of visual artists).
----- Her work
The development starts with the spatial objects: the so-called assemblages from the nineties and '00s, in which dreams and associations were captured in three dimensions. Story-boxes which depict the idea of the apparent contradiction of reality: 'nothing is what it seems to be'.
The smaller story-boxes (documented in the book Pamdorado) are as a diary, a sketchbook and an associative, poetic song of praise
to the world around her. From the everyday of litter, children's toys, paraphernalia from markets and holidays to personal memories. Glögg is a key work: from that point the works developed from surrealistic to abstraction with the reliëfs. Me too (2006) and U zoekt iets (2005) are typical works for the transition period.
----- The 'beauty of the everyday' remains an important factor in the reliëfs, the so-called Wired-works. But nature is also a source of inspiration. Zooming in on patterns, structures and light.
Details where colour and light on the skin of things are characteristic for the translation of reality. This is used intuitively, but especially investigative.
The reliefs are made with yarn and paper/board/photo that portray the tranquil landscape of Holland. The subtle use of colours and detailed texture plays a refined game with the light and determine the character of the work. In combination with colour choice and application, this leads to a refined and sensitive play of light and texture.
'For me, working with these materials is a changing process: from reality to geometric proportions. And vice versa, from the geometrical planes to the reality. A process in which colour plays an important
role. The seemingly flat surface changes into a relief with several dimensions. The yarn picks up details, directs the eye and adds a third dimension'.
The Reflections and Moving series for example are inspired by how the water and the air influence each other and form an endless wealth of color shades. Moving colours is based on tree stands of plane trees. The Crocus and Narcissus series is inspired by the structure of, sometimes modified, landscapes.
The series Vertical City and Twilight are rooted in the strict rhythm of (office) facades where the idea of space or foreground/background is not defined by shape or colour, only by texture. |