Tilmann Meyer-Faje

  • Born: 1971
  • Country: The Netherlands
  • Discipline:
  • Website: www.tilmann.nl

Tilmann Meyer Faje (1971) is a Dutch/German artist who works and lives in Amsterdam where he graduated in 2000 from the Gerrit Rietveld Academy and Sandberg Institute in 2004. In his work he focuses the failure of industrial processes. With his ceramic sculptures, he replicates contemporary constructions from our highly developed civilization and anticipates their decay. During the modelling, clay changes its consistence permanently, possibly due to temperature, moisture or weight – a process in which potentials he is highly interested. He builds structures while they tumble down from their own weight. For his failure experiments the artist often uses the shape of ships in analogy to what happens with us at the moment in the world. A big part of our consumption leans on transport with ships. People are still living on it, risking their live in nature, ships once break ore become dismantled. Mainly they end up on an Indian beach. When a construction become dismantled its characteristics shows up again. His first boat with broken hulk “Seelenverkäufer” is recently acquired to the collection of Stedelijk Museum in Den Bosch. Beside modelling sculptures Tilmann produces video animations with collapsing clay structures. With “Full speed ahead”  he recently produced in the public studio at European Ceramic work centre Sundaymorning@ekwc a whole fleet of boats.

Project in Arita

  • Title : -
  • Period of Residency : June - August
  • Sponsor : Mondriaan Fund

This method of learning by observing myself in the process is something I want to continue in Arita. I would also like to work with experienced local ceramists. What they create (plates, objects or art) or the techniques they use (like throwing or glazing) are of less importance. I am mainly interested to observe them at their routine.
Long, repetitive routines allow for a more thorough observation. By this process of observation I expect to arrive at a point where I start acting myself. As a consequence, the works I want to make can’t be planned in advance. They will result from processes conceived on the spot. The outcome of these processes should serve to comment on the conditions and materials employed in Arita. I might map out specific actions for elaboration in video or performance. This could also be done later, in a new setting in The Netherlands. For now, there is no preestablished result, except that I will try to show a ceramic production process in its entirety. How the basic material is dug up; the speed at which people work; the temperature, the smell, the light in the workshop and much more… These dimensions are just as important for the creation of a work as the colours of the glaze or the temperature at which it is fired.
This also means the result of my work period doesn’t necessarily have to be a porcelain object. It might be a composition of objects, photography or video fragments that document the atmosphere of the work environment and draw attention to various aspects of the overall work process. It could be details and sounds like brush strokes or dripping water and so on.