MAKING THE INVISIBLE VISIBLE
ANN VERONICA JANSSENS
art
Growing up in Kinshasa, Ann Veronica Janssens would often watch the sunset and sunrise, specifically the deep shades of violets, yellows, pinks and reds that swept across the sky, over the nearby mountains. She left the Congo aged 13 but five decades later, the intensity of those colours and perspectives are still woven throughout the Belgian artist’s immersive sculptural works, whether rainbow-coloured, annealed- glass panels, prism-like aquariums or installations of light and colours projected into a space.
“I’M INTERESTED IN SERENDIPITY, THAT IS A BIG PART OF MY WORK. JUST BY CHANCE, TO LOOK AROUND ME OR TO READ SOMETHING, AND THEN TO START TO DEVELOP SOMETHING WHICH COULD BE INTERESTING.”
This interview is featured in Ark Journal VOL III along with a 16-page portfolio of Ann Veronica Janssens’ artworks. In partnership with Louisiana Museum of Modern Art.
WORDS KAREN ORTON
PHOTO INSTALLATION VIEWS, LOUISIANA 2020
BETWEEN MEMORY AND MATTER
In Tashkent, a 1912 diesel station has been transformed by Studio KO into Uzbekistan’s first permanent centre for contemporary art — a place where history, material and contemporary culture meet.
MARFA MANIFESTATION: Donald Judd’s Marfa buildings restored through measured restraint
In the small town of Marfa, Texas, the Judd Foundation cares for 22 buildings acquired by Donald Judd and, since his death in 1994, has preserved them according to his artistic and architectural thinking.
MARAZZI, SHAPING INNOVATION THROUGH CERAMIC CRAFT
In the language of surfaces, few materials carry both memory and modernity as effortlessly as ceramic. For Marazzi, this duality has long defined its approach, an enduring dialogue between industrial precision and the human hand, between innovation and heritage.
MAKING THE INVISIBLE VISIBLE
ANN VERONICA JANSSENS
Art
Growing up in Kinshasa, Ann Veronica Janssens would often watch the sunset and sunrise, specifically the deep shades of violets, yellows, pinks and reds that swept across the sky, over the nearby mountains. She left the Congo aged 13 but five decades later, the intensity of those colours and perspectives are still woven throughout the Belgian artist’s immersive sculptural works, whether rainbow-coloured, annealed- glass panels, prism-like aquariums or installations of light and colours projected into a space.
“I’M INTERESTED IN SERENDIPITY, THAT IS A BIG PART OF MY WORK. JUST BY CHANCE, TO LOOK AROUND ME OR TO READ SOMETHING, AND THEN TO START TO DEVELOP SOMETHING WHICH COULD BE INTERESTING.”
This interview is featured in Ark Journal VOL III along with a 16-page portfolio of Ann Veronica Janssens’ artworks. In partnership with Louisiana Museum of Modern Art.
WORDS KAREN ORTON
PHOTO INSTALLATION VIEWS, LOUISIANA 2020