Nog tijdens zijn opleiding aan de Rietveld Academie werkte Jeronimus van Pelt aan het kunstwerk Lotus Dreams (1996). Deze performatieve installatie was een vanuit zijn herinnering geconstrueerde kopie van een Chinees restaurant, nagebouwd in een etalage. Hij organiseerde er diners en gesprekken over ruimte met ontwerpers, architecten en kunstenaars. https://www.jeronimusvanpelt.nl/projects/lotus-dreams/
Het werk staat symbool voor Van Pelts artistieke visie en werkwijze. Die is: opgaan in je omgeving om deze met maximale artistieke vrijheid te duiden. Met ruimte voor suggestie, associatie en abstractie én altijd zonder te oordelen. Van Pelt: “Ook als fotograaf ben ik – ongeacht het onderwerp – altijd met ruimte bezig. De fysieke ruimte in relatie tot die van mijn verbeelding. Mijn werk gaat over experimenteren met ruimte: het beleven, vastleggen en de betekenis ervan. Ik speel ermee, baken af en laat binnen dat kader iets nieuws ontstaan.”
Zijn werkwijze maakt geen onderscheid in opdrachten en autonoom werk. Hoewel zijn onderwerpen sterk variëren, ontleent hij zijn inspiratie vaak aan de wetenschap, de beeldende kunst en aan conceptuele thema’s.
Fine art photography series commissioned by The Royal Association of the Dutch Chemical Industry (VNCI) and PACT Public Affairs. We visited five of the biggest plants in the Netherlands. DOW Chemical in Terneuzen, Tata Steel in IJmuiden, Chemelot in Geleen, Exxon Mobil in Rotterdam and the RWE power plant in the Eemshaven. The series is exhibited in Nieuwspoort The Hague where the Dutch film maker Arno Dierickx gave his vision on the art piece in the presence of the industries stakeholders, the Dutch government and NGOs discussing emission and the climate.
Arno Dierickx: “Wat de foto’s vanuit mijn perspectief laten zien, is een andere blik op industrie. Verrassende standpunten, onopvallende details worden opvallend gemaakt, er zijn sprekende combinaties ontstaan tussen industrie, mens, lucht, natuur en de fotograaf heeft gespeeld met spiegelingen en nadrukkelijke onscherpte. Wat de reeks voor mij als geheel communiceert, is dat de blik op de industrie vertroebeld is. Het is een reeks die laat zien dat het moeilijk is om naar industrie te kijken, maar ook dat de industrie niet gewend is om zich te laten zien.”
Lambda Photo print semi-mat, 3mm Trulife Perspex, 3mm Dibond, 110 cm x 73cm, The Hague 2019
A letter to Prince Jonathan Doria Pamphilj dd 17 June 2018
Dear Jonathan,
How have you been faring? I’m writing to you to let you know I have finished the art piece (at long last) and named it Browsing species. First off I’d like to thank you ever so much for making it possible for me to make the piece. I’ve been putting some of my considerations to paper and wanted to share them with you. Obviously I’m very interested in your thoughts and ideas about it.
Wikipedia: “For years the okapi was unknown to the Western world until the beginning of the 20th century. Europeans in Africa had heard of an animal that they came to call the African unicorn. In his travelogue of exploring the Congo, Henry Morton Stanley mentioned a kind of donkey that the natives called the Anti, which scholars later identified as the okapi.
When the British governor of Uganda, Sir Harry Johnston, discovered some pygmy inhabitants of the Congo being abducted by a showman for exhibition, he rescued them and promised to return them to their homes. The grateful pygmies fed Johnston’s curiosity about the animal mentioned in Stanley’s book. Though Johnston did not see an okapi himself, he did manage to obtain, with the help of the pigmies, pieces of striped skin and eventually a skull. From this skull, the okapi was correctly classified as a relative of the giraffe. In 1901, the species was formally recognised as Okapia johnstoni.”
I hardly ever use animals in my art pieces but the fascination for the Okapi is one that I had for a long time. It’s one of those images that I subconsciously carried around with me and it was when I wandered the halls and rooms of the Doria Pamphilj palazzo that I realised what to do with this intriguement.
There is a very natural resemblance between the atmosphere of the okapi and the Renaissance style of the Doria Pamphilj palazzo. It’s the animals look and energy that make a beautiful almost harmonious fit with the rich decorations and luscious gold ever present. In the Congo okapi’s live solitary in the woods and are hardly ever seen by humans. They’re a shy animal and their solitude fits their natural contemplative look. This look seems to suggest a lightly depressed tendency and a complex emotional inner life, to me. A skittish nature yet proud posture and those deep big black eyes in their grey coloured head. They could be a king or nobleman being very bored with all he has, longing for that what he has not, the unobtainable. In the Netherlands we have a rich merchant whom said: ‘I’d rather be depressed in the back of a Rolls Royce then in a Deux chevaux’.
So, even when it’s highly unlikely and seemingly contradictory for okapi’s to wander through the palazzo, they are a perfect match. The gold and tapestries of the palazzo compliment beautifully with the lavish velvety shine of the okapi’s skin. I’ve seen the Okapis in the zoo where they obviously don’t belong and I dare say that besides their natural habitat in the forests of the Congo they’re second natural habitat would be wondering the hall’s of the Doria Pamphilij museum. Browsing species.
It looks like the okapi is naturally made up out of two different species. Often when two different things or entities are combined into one there’s some form of conflict. It’s everywhere around us and If done well there’s a determination in the will to combine that appeals to me. For instance in Zaha Hadid’s (died in 2016) build of the harbour house in Antwerp. https://www.dearchitect.nl/projecten/havenhuis-antwerpen-zaha-hadid-architects
There are other animals made up out of different species like the platypus but they’re aesthetically les interesting to me because of a lack of elegance that the okapi does have. Okapi’s are also priceless because there’s so few of them. It’s this elegance, luxuriousness, rareness and pricelessness that binds the palazzo Doria Pamphilj, the portrait of Innocentius X by Velazquez and the okapi’s into the art piece. Browsing species.
Looking forward to seeing you.
All the very best!
Jeronimus
Natural Habitat Adventures #3 - About indulgences, inspired by Gioachino Rossini’s love of the Tournedos Rossini. Tournedos Rossini is a French steak dish, purportedly created for the composer Gioachino Rossini by the French master chefs Marie-Antoine Carême or Adolphe Dugléré, or by Savoy Hotel chef Auguste Escoffier. The dish comprises an beef tournedos (filet mignon), pan-fried in butter, served on a crouton, and topped with a hot slice of fresh whole foie gras briefly pan-fried at the last minute. The dish is garnished with slices of black truffle and finished with a Madeira demi-glace sauce.
Natural Habitat Adventures #2 - About indulgences, inspired by Berndnaut Smilde’s cloud art photography.
The project collage
Behind the scenes #1
Behind the scenes #2
Natural Habitat Adventures #1 - About indulgences while secretly being Heineken advertising campaign photography.
Play is een bijzondere serie fotoportretten van een groep scholieren. Jeronimus van Pelt maakte de serie op het Gymnasium Haganum in Den Haag terwijl de groep dramales krijgt van docent Peter Reijn. De scholieren hebben hun dialoog of monoloog terdege voorbereid en zitten goed in hun rol. De rest van de klas fungeert als publiek. De concentratie is optimaal en er heerst een doodse stilte.
De scholieren zoeken volop naar hun eigen identiteit. Met hun intelligentie en kennis nemen zij de identiteit van het karakter aan dat zij moeten spelen. Hierdoor ontstaat er een zichtbare spanning tussen wie zij daadwerkelijk zijn - of aan het worden zijn - en wie zij spelen. Het resultaat is een poëtische identiteitscocktail van hun eigen ontluikende identiteit en het personage.
Jeronimus van Pelt fotografeert de serie jaarlijks sinds 2011 met leerlingen van groep 4 en 5.
Reflecties op sterk water
Toen ik Jeronimus vroeg om de spelresultaten van mijn leerlingen vast te leggen wist ik dat de portretten een sterke visuele bijdrage zouden zijn aan een les waarin schoonheid en focus centraal stonden. De leerlingen hielden binnen de opdracht het transparante masker voor van een personage uit een “well-made-play” uit de toneelliteratuurgeschiedenis. Is hier sprake van spel of werkelijkheid? Het masker ontmaskert, grote universele thema’s worden herboren vanaf de drempel naar volwassenwording. De kwetsbaarheid openbaart zich op de zeldzame momenten dat het authentieke zelf binnen de spelopdracht naar buiten komt. Jeronimus legt die haarfijne barsten in de schil vast. Het is een reflectie die zich tegelijkertijd naar buiten en naar binnen richt. Sartre beschrijft het bewustzijn als een zes vlakkige innerlijke ruimte die zich tot in het oneindige in zichzelf blijft spiegelen. In de portretten van Jeronimus katapulteert die duizelingwekkende spiegeling zich dwars door het masker naar buiten. Wat je ziet is het wordingsproces van adolescenten. Het ongrijpbare grensgebied tussen kind zijn en volwassenwording. Het is een val die tegelijkertijd naar binnen en naar voren is, vastgelegd en gevangen door de genadeloze en tegelijkertijd meedogende scherpte van de lens.
Wat ik niet kon vermoeden is dat de portretten buiten de les hun autonome zeggingskracht behielden. Het zijn portretten van intelligente jonge mensen die de moed bij elkaar schrapen om de wereld en haar gestructureerde chaos te leren begrijpen. Ze staan op de drempel van het Arcadische gebied waarnaar ze al bijna achterom kijken.
‘Minerva for life’ is the metaphoric base for this staged photography series. The portrayed members and alumni ‘are’ themselves and/or play a role on the stage of the student sociëteit Minerva in Leiden.
Concept & photography: Jeronimus van Pelt
Advisor to the photography project: Peter Sigmond (director collections, the Rijksmuseum Amsterdam)
Situation sketches: Eric Stofmeel
Digital retouching: Monique Smets
Leiden University
Young people flock to Leiden University to study at world renowned Faculties such as Law, Psychology, Medicine, Archeology and Theology. Leiden is the oldest University in the Netherlands, founded in 1575 as a reward for Leiden’s brave tenacity during the Spanish siege under king Philips II. This ordeal ended in 1574 and is still commemorated each year on 3rd of October. The thankful, generous founder was Dutch ruler William of Orange, ancestor of today’s king William, who - not exactly coincidentally - studied History in Leiden and is also a Minerva alumnus.
Student societies; corpora
One’s time at uni lasts approximately 4 years. Typically, Dutch students in their free time gather in independent student societies, rather than faculty-related clubs. Minerva is the oldest student society in the Netherlands, this ‘body of students’ is known as the ‘corps’, derived from the Latin word corpus. Other corpora followed Leiden’s example and nowadays most Dutch universities have a corps student society in their town.
Omnia mea mecum porto
It may come as no surprise that the Leiden years are a very important period in one’s life time. Student life is rich in experience and knowledge, usually not in money. (This comes later, in the civilian life) The famous quote by Bias of Priene, as written by Cicero, goes: “all I have, I carry with me” namely in the heart and in the mind. In Leiden, at Minerva, one fills heart and mind for the rest of one’s life.
Minerva for life 2014
The corps celebrates Lustrum every five years, with activities throughout the year leading up to two-weeks-Lustrum-festival in June. Minerva turning 200 years, the bi-centenary calls for eXtra Large festivities, XL being the Latin number for 40, the fortieth Lustrum (40x5=200). XL is certainly the right word to describe the photo project Minerva for life 2014 by The Hague based photographer Jeronimus van Pelt. Selected for his carefully staged compositions, Jeronimus was granted access to the student world that normally remains closed to non-members. He got free reign and full cooperation to recreate Minerva’s student society in his own artistic vision.
The tale of the fireplace brought to life
Acquiring knowledge and gaining one’s position in the world is what the scene at the fireplace is about. Goddess Minerva shoves stupidity aside. The fresh men are like human donkeys, blazing pink piglets in the worn awayness of times passed, sternly sent away under the watchful eye of the seniors. New alliances are being forged, brotherhoods created, the fundament lain for friendships for life.
Alumnus: Hans van Baalen
Styling: Ton of Holland
Production: Peter Reijn, Mette Visser and Lavinia Lurvink
Lighting: Eric Stofmeel and Thomas Heere
Make up: Milla Kramenstetter
Clothing: Minerva
Text editing: Jitske Zitman
Amazonia ‘about female supremacy’
The ladies gather in an exclusive female meeting. They’re a sight for sore eyes, showing their magnificent beauty wearing their fine evening dresses and precious jewelry. Combativeness and sexuality. The homogeneity of the group emphasizes the power of female superiority. These civilised women, wearing their impractical footwear, look like they’ll gracefully stride away to actually take matters in hand.
Alumna: Nelleke Noordervliet
Styling: Ton of Holland, Eric Stofmeel and Jeronimus van Pelt
Production: Peter Reijn, Lavinia Lurvink, Mette Visser, and Josephine Cleyndert
Lighting: Ilya van Marle and Eric Stofmeel
Make-up: Milla Kramenstetter
Clothing: Minerva
Text editing: Jitske Zitman
Vanitas , a large accumulation of stuff
Minerva’s society building is used in every nook and crevice. Old and new traditions introduced by many generations of members find their significance in the Mores and the more tangible attributes. The members grow up to become Alumni, they’ll return to the building every now and then, but the introduced stuff remains behind. The Members are here only for a short while, Minerva is forever!
Lilies: sponsored by QUALILY www.qualily.nl - motorcycles and clothing sponsored by: Marcel Brunsveld of trialschool.nl in conjunction with Kamphuis Trading and Jopa racing - product styling: Eric Stofmeel and Jeronimus van Pelt - production: Peter Reijn, Lavinia Lurvink and Josephine Cleyndert - lighting: Ilya van Marle and Eric Stofmeel - make up: Milla Kramenstetter - textediting: Jitske Zitman
›› 4 Hey now baby, let’s do the romp
At the basis of this massive romp there might well have been a serious difference of opinion. The truth, that ship has sailed: the dispute must be settled at all costs! Reluctantly the loser shares a beer with the victor. Constantly looking for an opportunity to settle the disagreement for good, in their own favour.
Let’s romp around!
Styling: Eric Stofmeel and Jeronimus van Pelt - production: Peter Reijn, Gijs van Gent, and Josephine Cleyndert - lighting: Eric Stofmeel - clothing: Minerva - text editing: Jitske Zitman
›› 5 The merger 1973 ‘a mating dance’
The merger portrayed: the conformation of the Leiden based students corps ‘Virtus Concordia Fides’ (1839) with the Association of Female students in Leiden (1900) into student society ‘Minerva’. It is always mating season in the ‘Hifi’ disco. As in any disco, the girls invite the guys to ‘come hither’. They will.
Styling: Eric Stofmeel and Jeronimus van Pelt - production: Peter Reijn and Josephine Cleyndert - lighting: Eric Stofmeel - make up: Chistel Mijers - clothing dancing couple: Maison de Bonneterie - the rest of the clothing: Minerva - text editing: Jitske Zitman
›› 6 Pan Provincial Congres 2014, LOL at Sociëteit Mien Erve ‘a funny scene’
A stage within a stage. Beautifully polished actors depict the Mores, the special rules that are the cement of Minerva life. Not to be taken too seriously, laugh out loud at them. But never TOO loud.
Alumnus: Paul van Vliet - garden tools sponsored by: Husqvarna Nederland B.V. - tandem and bicycle clothing: Pieter Sipkes - Falabella small horse and three Nandoe’s: Bert’s animalverhuur.nl - clothing Paul van Vliet and the scarecrow: Oger Den Haag - boater Paul van Vliet: Maarten de Klerk - styling: Eric Stofmeel and Jeronimus van Pelt - production: Peter Reijn, Mette Visser and Josephine Cleyndert - lighting: Joris van Ophuizen and Eric Stofmeel - make up: Christel Mijers and Tineke van der Donk - the rest of the clothing: Minerva - text editing: Jitske Zitman
›› 7 Tremendous forces ‘Pressing bravely ahead!’
“I feel tremendous forces in this room” spoke the Right Honourable Winston Churchill when visiting Minerva on the 10th of May in 1946. Just an hour earlier he was rewarded by the University with an honorary degree in Law for his brave role in ending WW II. The room Churchill spoke in is nowadays known as the Great Hall. It still contains these ‘tremendous forces’, guiding along young people into their future.
Styling: Eric Stofmeel and Jeronimus van Pelt - production: Peter Reijn - lighting: Eric Stofmeel - clothing: Minerva - text editing: Jitske Zitman
Morrelen aan de grondvesten van alles wat is, herdefinitie van de werkelijkheid door het gewone, de pilaren der onachtzaamheid, het niet geziene in een andere context te herbeschouwen en ter discussie aan te bieden.
