Just outside the city of Groningen, on a remote industrial estate, you will find the studio of Fiona Zondervan (Haarlem, 1963). There she works tirelessly almost every day on her ever-expanding oeuvre. Surrounded by materials and sculptures, we spoke to her about her work.
"At high school I discovered how important creativity was to me and how much I loved working with my hands. My father was a civil servant at Rijkswaterstaat and was involved in the realization of public works of art. When I was seventeen I was allowed to accompany him to the installation of the project Boot aus Stein (1981) by Hannsjörg Voth in the IJsselmeer, in which Voth carved a boat out of stone. I found that so impressive that I realized that life as an artist could be a real way of life and that you can organize your own life as you wish. After studying for six months at CABK in Kampen, I moved to Amsterdam, where I found my own way in the art world by apprenticing with various artists. I also worked for a while at a bronze foundry. Practical experience is the best education you can wish for as an artist. It was an important period for me because I discovered that in addition to sculpting, I was also good at stone carving. It is very different to create a sculpture by removing something rather than building it up by sculpting. It is a completely different way of working and thinking.
Animals are central to my work, a theme that originated in my youth and was reinforced by my many visits to zoos. Animals fascinate me because of their facial expressions, anatomy and movements, especially monkeys and birds. It is a subject that is so vast that I can still immerse myself in it after 35 years. In my work I try to capture the essence of these animals without humanizing them. I start by looking, then drawing, and finally I take some photos as an extra memory aid. Drawing forms the basis of the memory; it forces you to really look and think about how an animal is put together. A bird's feather package, for example, is so complex that you can hardly imagine it yourself.
The studio is a place of rest for me
In my studio I work with different materials, including stone and bronze. I leave the bronze casting to others, but I do the chiseling and patination myself. My working day is varied; sometimes I work on a stone shape, other days I sculpt. The material often determines the end result. I work intuitively and let myself be guided by what the material tells me. I try to let the material shine through and do it justice. It is millions of years old and as an artist you have to respect that and give it a place in your work.
The process of sculpting and sculpting is for me a way to process the complexity of life and to connect with the world around me. The studio is a place of rest for me. It is a safe haven that you sometimes need as an artist and as a person to stand stronger in the world. Here I can give all the impressions from the world around me a foundation, after which the work can grow before it goes back out into the world. My art has always had a strong relationship with animals and nature. I feel a responsibility to create awareness about the threats that many animal species face. I feel ashamed that we as humans are responsible for the extinction of so many animals. This activism, which has grown over the years, is reflected in my work and in the exhibitions that I organize. An example of this is my work on the pangolin, which I made after hearing about the serious threats to this animal. By capturing this in an image, I try to give shape to my grief.
I hope that my work touches people and that it adds something lasting to the world
For me, teaching is a way to pass on my knowledge and to stay in touch with other people. It inspires me to constantly review and refine my work. Although I sometimes need the peace and quiet of the studio, I appreciate the interaction with others and the fresh perspective that my students give me.
My work as a sculptor is a continuous search for balance between different materials, techniques and ideas. I see myself as a very small link in the whole, but I am determined to do my part. I hope that my work touches people and that it adds something lasting to the world."
Fiona Zondervan's work can be seen until September 29, 2024 in Hortus botanicus Haren, where it is part of the Hortus Animali sculpture exhibition.
Text: Dinnis van Dijken
Photos: Lisa Jasperina Bommerson