From self-taught costume maker to artist who uses sensor-driven installations, films and photography to elevate the everyday into art, Kitty Boon is the perfect example of how most artists are not easily categorised. Few in the creative field these days focus on just one medium; instead, they weave the complexity of the world around us into their own complex works. We spoke to Kitty about her art practice in her studio.
"I graduated from Minerva Academy in 2004, after studying part-time. Before entering the art world, I worked in theatre, making sets and costumes. I did that without formal training; I was an autodidact. But my hunger for knowledge soon led me to art school, where I wanted to learn more, especially about the things I could already do. Although painting was not my preference, I discovered my passion for installations, photography, films and videos. I can do much more in these and so I can talk about more subjects in my work.
I am always focused on details, a real observer.
My themes are rooted in the everyday. I find inspiration in the simple things around me. Recently, for instance, I made a photo book called Look at this, Elephants, in which I took pictures of windows during my walks. This collection is like little theatres, where each window tells a different story. It intrigues me that everyone puts something different in front of the window and I always wonder if they do it for themselves or for the passers-by? In addition, impermanence fascinates me, probably because I was confronted with death at a young age. It's something that gets into your fibres and it makes you look at the world around you with different eyes. I am always focused on details, a real observer. I like to look at my work in detail before it is exhibited, carefully weighing up the selection. I work a lot with photography and ultimately most of the work is in selecting which images transcend the everyday and become detached from the moment they were taken. A work must always have multiple layers before it can call itself a work of art, and not every image has the capacity to carry the complexity I am looking for.
In my installations, I try to convey a deeper meaning. For example, my installation 'Hopeful Journey' is a tribute to my father, a musician who died early in my life. I revived his music by collaborating with a saxophonist. Another example is my installation with five fountains, inspired by a water organ, where sensors activate the sound and the fountains rise in rhythm. I like working with installations because they put the viewer in the same position as the artist, thus coming very close to my own experience as a maker. It's not that my artworks are very unambiguous and I dictate what the viewer is supposed to see in them; everyone experiences everything differently, and I embrace that as an artist.
My work is about discovering beauty in the everyday
I am currently working on an installation in a church in Anloo, where I am projecting videos of flower still lifes on the walls. Flowers symbolise comfort and have deep meaning, especially in a church context. Flowers are very powerful as symbols and are therefore also used as symbols all over the world. I always try to make a connection between my work and the location where it is exhibited. Therefore, I want to immerse the church in floral still lifes and create an overwhelming experience. My work is about discovering beauty in the everyday and creating installations that invite people to reflect and introspect."
Kitty Boon's work can be seen on 9+11+12 and on 18+19+20 May 2024 in the Magnus Church in Anloo, as part of the biennial art festival Feest van de Geest. More information can be found here.
Text: Dinnis van Dijken
Photos: Lisa Jasperina Bommerson