ruudt peters
8 9 a l r u bracelet 70 x 45 x 30 aluminium-rubber 1973 collection stedelijk museum amsterdam artist s collection mobylette necklace 150 x 15 0 x 40 aluminium-rubber 1973 françoise van den bosch foundation collection stedelijk museum amsterdam
STEP IN BREAK OUT Since I was twenty years old, and for fifteen years, I was struggling a lot. When I look back at the work I made during that period, I feel that I didn t know myself at all. I had a big problem with my mother and our relationship was sitting on my shoul ders. I was going to shrinks, one after another. In my work from the 1970s you can see a distance, a certain lack of emotion, because I haven t sorted out my own emotions then. It was my big fight; that s what made it easier to make a certain kind of design work, based on a mathematic, systematic approach. 30 31 I was searching for la pietra di paragone or the toetssteen (Italian, Dutch, a stone used to test the quality of gold) a kind of objective parameter that measures beauty. You could appreciate certain components of the work: its formal language, the way it was made, and somehow objectively see that it was good but that created a distance. Later, my work became more emotional, more related to me, to my childhood; it made me feel both more confident and happy, but also more vulnerable. The first moment you step into art, when you realise that you are consciously creating an artwork, that moment stays with you forever. For me this realization is connected to my Art Academy education, to Ad Dekkers, Evert Hilgemann, Herman de Vries, fundamentalist painting, sculpture, based in structure, systematic way of making work. All of that is still there today, but on the other hand, I make very personal, private work. I know that I am a drama queen, but I m a queen in a structured body. The turning point came in 1982, when I made a sculpture at the Nieuwe Kerk in Amsterdam s Dam Square. At the time I was making big clay objects, circles, and they were drying and breaking; the work had a lot to do with the Arte Povera. I made myself dig clay out of the ground and carry huge bags of it three flights of stairs. The sculptures were huge, and horrible, but there was a change in me. Somehow this physical struggle with the material stirred up something real inside me. And once I got an invitation to create a sculpture in one of the chapels of the New Church, I felt I was breaking through. I made twelve lances with sponges on top of them. The sponges were dipped into a saline solution, so the crystals began to grow on them. One of the lances was broken; it was a metaphor for Judas. The work wasn t literal, and you could read the meaning if you looked deeper. hexagram 1 bracelet 75 x 60 x 6 chrome plated brass 1975 collection municipality of groningen
38 39 bracelet 110 x 110 x 3 screened formica-steel 1983 the museum of fine arts, houston, capital corner helen williams drutt collection artist s collection bracelet 130 x 130 x 3 screened formica-steel 1983 capital square artist s collection
48 49 bracelet 80 x 80 x 3 gilded brass 1986 cannelure collection liesbeth den besten capital bracelet 114 x 56 x 3 gilded brass 1986 collection coda apeldoorn artist s collection
62 63 dedicated brooch 90 x 90 x 15 iron 1988 collection annelies van der schatte olivier artist s collection ring 32 x 32 x 22 silver-gold 1988 conic artist s collection
68 69 brooch 70 x 70 x 37 silver 1990 terme artist s collection victoria brooch 70 x 70 x 32 silver 1990 collection pavel opocensky artist s collection
münchen [de] interno 1992 galerie spektrum p hoto Leo Versteijlen 75
80 81 senouda pendant 82 x 65 x 63 egg-graphite-silver 1993 collection stedelijk museum amsterdam artist s collection bassianus pendant 85 x 42 x 42 black silver-black pearls-cotton 1992 artist s collection
100 101 RING 70 x 47 x 26 silver-aragonite-gold-plated 1994 erfoud collection KOUDIJS/SCHRIJVER wunstorf ring 104 x 40 x 32 silver-marcasite-gold leaf 1994 private collection
116 machiavelli pendant 110 x 70 x 70 silver-silk 1992 artist collection necklace 260 x 260 x 80 sulphur-malachite-aragonite 1997 massa confusa artist s collection
142 143 pendant 85 x 65 x 55 silver-silk-polyester 2002 iosis 18 artist s collection brooch 62 x 60 x 10 silver-silk-polyester 2002 iosis artist s collection
148 149 brooch 90 x 50 x 20 silver-polyester 2004 azoth 3 private collection brooch 92 x 45 x 32 silver-polyester 2004 azoth 14 collection galerie marzee
164 165 YESODATH brooch 100 x 90 x 60 SILVER-LAVA STONE 2007 PRIVATE collection malkuth BROOCH 150 x 85 x 40 silver-sulphur 2006 artist s collection
178 gold pendant 380 x 320 x 160 wood-foam-gild plated brass-ceramic 2008 artist s collection
184 185 brooch 82 x 90 x 70 anodized aluminium 2009 devota artist s collection brooch 90 x 60 x 40 aluminium 2009 clareta collection susan beech
198 199 ovarium brooch 160 x 100 x 30 polyurethane-silver 2011 collection coda apeldoorn scapula brooch 151 x 84 x 40 polyurethane-silver 2011 collection jim reekers & liesbeth den besten
amsterdam [nl] corpus 2011 g a l erie rob k oudijs p hoto Ruudt Peters 207
210 211 brooch 108 x 80 x 12 bluestone-silver 2013 z ong se shou private collection brooch 108 x 100 x 12 bluestone-silver 2013 hei sha artist s collection
252 253 corpus lock 2011 artist collection bracelet 75 x 60 x 45 brooch aluminium-acrylic 200 x 120 x 40 1973 silver-polyurethane-gold leaf 2015 artist s collection terram 2015 brooch 120 x 90 x 50 gilded silver-renshape-gold leaf 2015 artist s collection
260 261 brooch 94 x 67 x 10 silver-polyester-graphite 2016 ÂME artist s collection brooch 75 x 68 x 10 silver-polyester-graphite 2016 arima artist s collection