Jeroen Verhoeven (b.1976 Netherlands) makes work that combines the fantastic with the practical: it is function and form turned into mystical narrative, where the supple feather-light impressions of dreams become objects that we can see, touch and most importantly use in our every-day lives. 'We are storytellers, from fantasy to factory, from statement to product,' Verhoeven writes on the website of the Dutch design house Demakersvan, which he founded together with his twin brother and Judith de Graauw. This storytelling, which Verhoeven so passionately advocates, not only demonstrates that the improbable can become the extraordinary, but it puts a new perspective on design itself: what it once was, what it has become, and what it might be in the future.

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GALLERY EXHIBITIONS

London Dering Street
The Curious Image

The Curious Image

12 May – 16 July 2011

INSTITUTIONS

Corning Museum of Glass, New York, US
Virtue of Blue

Virtue of Blue

15 December 2017

NEWS

Jeroen Verhoeven At The Corning Museum Of Glass

Virtue of Blue is part of a permanent collection that features prominent contemporary glassworks

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BIOGRAPHY

Verhoeven’s possibly most famous work, the Cinderella Table, demonstrates exactly his practice: using computer software, Verhoeven translates a sketch of an 18th century commode and an antique console into two digital drawings that he then morphs into a third representation forming a table. From this image, computer aided manufacturing hardware produce thin birch plywood sheets composing a three dimensional object of the digital image. The artist glues all individual birch slices together by hand, thereby forming a unique piece of furniture.

Contemporary software and computer-aided manufacturing create a fable-like object that ultimately narrates the story of a unique hand-manufactured and antique piece of design. It is the narrative of fairy tales: something old and something ordinary, something that we think we know, metamorphose into an entirely new thing that dazzles us in its juxtaposition - just like Cinderella.

Together with his brother, Verhoeven has achieved at the beginning of his career what many designers never manage in their lifetime: translating aesthetic fantasies into real objects without sacrificing function, and turning functional objects into key-pieces of beauty without becoming exclusively form. The names of Demakersvan’s products – Demakersvan literally meaning ‘the makers of’ – speak for themselves: there are garlands woven out of fifteen thousand Swarovski crystals, turning the most fragile and disposable object – party paper-decorations – into an expensive and precious piece of interior design. Bathroom tiles transform into water lily scattered black pools in Bloomstone, and Lucky Charms – a charm bracelet of life-size ceramic tableware for which Verhoeven won the EDIDA: ELLE Decoration International Design Award – evokes society’s inability to decide what should have function and what should decorate in a home.

It is this sophistication to make the banal precious and the unique and antique adapt to contemporary methods of industrial production that has earned Demakersvan a place in museums like Centre Pompidou, Die Neue Sammlung, the Victoria and Albert Museum in London and the Museum of Modern Art (MoMA) in New York, and projects with market leading companies such as Nike and Swarovski.  'Functionality is only important if that is the subject,Verhoeven says. 'Dream impossible things.'

The question whether he is an artist or a designer, Verhoeven rigorously refuses to answer: 'Why do I have to put myself into a certain box?' he asks. What is certain, however, is that he enables us to experience a fairy tale world in an environment that we have learned to take unrightfully for granted. In the words of Sol LeWitt: 'Conceptual artists are mystics rather than rationalists. They leap into conclusions that logic cannot reach… illogical judgments lead to a new experience.'[1] It should come as no surprise then that one of Verhoeven’s most recent projects Virtue of Blue, is a delicate construction featuring 500 solar panels cut into the shapes of four different breeds of butterfly. These cluster around a flame-like, hand-blown glass bulb and, though they are static, appear in flight. Another remarkable element of the chandelier is that it is self-sustaining; like living butterflies, which use the rays of the sun to raise their own body temperatures, the wings of the chandelier butterflies absorb energy during daylight hours to provide power for the light they surround.

Verhoeven graduated from Eindhoven Design Academy in 2004, together with his twin brother Joep Verhoeven. Since then, Verhoeven’s work has been exhibited internationally, with recent group exhibitions including Against the Grain: Wood in Contemporary Art, Craft and Design, at the Mind Museum, North Carolina, which travelled to the Museum of Arts and Design, New York, US (2013), New Energy in Design and Art, Museum Boijmans Van Beuningen, Rotterdam, NL (2011) a solo exhibition The Curious Image, Blain|Southern London, UK (2011), Telling Tales at London’s Victoria and Albert Museum, UK (2009), Thing: Beware the Material World at Art Gallery of Western Australia, Perth, AU (2009), Digitally Mastered: Recent Acquisitions from the Museum’s Collection, Museum of Modern Art (MoMA), New York, US (2007) and Space for your Future, Museum of Contemporary Art, Tokyo, JP (2007).

Verhoeven’s practice is included in several publications including History of Design: Decorative Arts and Material Culture, 1400-2000 (Yale University Press, New Haven 2013); The Power of Design: Product Innovation in Sustainable Energy Technologies, (Wiley, Chichester 2013); the publication by Glenn Adamson; Invention of Craft, (Berg Publishers, London 2012); 21st Century Design  by Marcel Wanders and Marcus Fairs (Carlton Books Ltd, London 2011); Design Dictionary: Perspectives on Design Terminology (Board of International Research in Design) by Michael Erlhoff, Timothy Marshall, Laura Bruce, and Steven Lindberg, Birkhäuser Architecture, (Basel 2008); And Fork: 100 Designers, 10 Curators, 10 Good Designs, by Tom Dixon (Phaidon Press, London 2007) and Gareth William’s  The Furniture Machine, (Victoria and Albert Museum London 2006).

Verhoeven’s work is in several public and private collections, including Art Gallery of Western Australia, Perth, AU; Brooklyn Museum, New York, US; Die Neue Sammlung in Munich, DE; The Museum of Modern Art (MoMA), New York, US; Victoria and Albert Museum, London, UK; Centre Pompidou, Paris, FR; and has most recently been acquired by The Corning Museum of Glass, New York, US.

________________________________

[1] LeWitt, Sol, “Sentences on Conceptual Art”, 1969

 

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CV

1976, Jeroen and twin brother, Joep Verhoeven born in Tegelen, NL
Lives and works with Joep Verhoeven in The Netherlands

           

EDUCATION

2004
Art Academy, Eindhoven, NL

 

TEACHING

2008
Art Academy, Maastricht, NL

2004
Architectural Association School of Architecture, London, UK


AWARDS/NOMINATIONS

2009
Best socially oriented foreign production, Toon van Tuilprijs, NL

2008
“Light Wind”, Design Museum Award, London, UK

2007
“Light Wind” nomination, Well Tech Design Award, UK
“Lucky Charms” nomination, EDIDA: Elle Decoration International Design Award, UK

2006
“Demakersvan werk alg.” Nomination, Design Prijs Rotterdam, NL
“Demakersvan werk alg.” Nomination, Woonbeurspin, NL

2005
DSM Design Award, NL
Best graduation work, Renee Smeetsprijs, NL

2004
“Lace Fence”, First Prize, Rene Smeetsprijs, NL
“Cinderella”, First Prize, Best Graduation Project, Items-Ahrend, NL

 

SELECTED EXHIBITIONS

2015-2016
This Is for Everyone: Design Experiments for the Common Good, Museum of Modern Art (MoMA), New York, US

2012-2014
Against the Grain: Wood in Contemporary Art, Craft, and Design, Mint Museum of Craft and Design, Charlotte, US; Museum of Arts and Design, New York, US; Museum of Art, Fort Lauderdale, US

2013
Design Icons (highlights from the permanent collection of the Die Neue Sammlung Design Museum), Audi Forum, Neckarsulm, DE

2011-2012
Standard Deviations: Types and Families in Contemporary Design

2011
New Energy in Design and Art, Museum Boijmans Van Beuningen, Rotterdam, NL
The Curious Image, Blain|Southern, London, UK Thinking Big, Brooklyn Museum, New York, US

2010
Sotheby”s at Sudeley Castle, Sudeley Castle, Winchcombe, UK

2009
Telling Tales: Fantasy and Fear in Contemporary Design, Victoria and Albert Museum, London, UK
Thing: Beware the Material World, Art Gallery of Western Australia, Perth, AU

2008
Design and the Elastic Mind, Museum of Modern Art (MoMA), New York, US
Young Blood, Carpenters Workshop Gallery, London, UIFF Tokyo, JP
SDM Milan, IT
IFF New York, US

2007
Digitally Mastered: Recent Acquisitions from the Museum”s Collection, Museum of Modern Art, New York, US
Space for your Future, Museum of Contemporary Art, Tokyo, JP  
No Windmills, Cheese or Tulips, ESPACE 218, Minato-ku, Tokyo, JP

2006 
Furniture Design, Montis, NL
IFF New York, US2005 
Droog Design interior, 21st century room, Friedman Gallery, New York, US
IMM Koln, CH
SDM Milan, IT IFF New York, US

 

SELECTED PROJECTS

2010 – 2011
Lectori Salutem, Blain|Southern London, UK Virtue of Blue, Blain|Southern London, UK

2009-2010
Uncut suits (own production)
Lace Fence custom 3000m2 “het Podium”, The Hague (search architects), NL
Rockoco chandelier (Fatboy)
Tuilprijs, NL
Elle Inside Design Amsterdam, NL

2007-2008
Set up of the lace fence production in Bangalore, IN
Light Wind (Kreo galleries)
Crystal garlands (Swarovsky)
Royal genesis resort Shanghai icw Joris laarman
Bag designs (Fatboy)

2005 - 2006
Interior design, Nibostone, NL
Floor design, Nibostone, NL
Lighting for Artecnica
NOTS watches, Mondaine
Laced Fence, MVRDV interior, NL
Launch of the Cinderella table, Lace Fence, Lost and found chair and the Minimizing Einstein radio
Lucky charms centrepiece (cor Unum)
Bloomstone Floor (Ideal House IMM Cologne) 

2004 – 2007

Cinderella Table, Amsterdam, NL    


SELECTED PUBLICATIONS

2013
Jessica Watts and Louis Shadwick, Lectori Salutem, Blain|Southern, London, UK
P.Kirkham, Weber, S., History of Design: Decorative Arts and Material Culture, 1400-2000,  Yale University Press, New Haven, US A.Reinders, Diehl, J. C., Brezet, H., The Power of Design: Product Innovation in Sustainable Energy Technologies, Wiley, Chichester, UK

2012
G.Adamson, Invention of Craft, Berg Publishers, London, UK
L.Stokes Sims, Against The Grain, Wood in Contemporary Art, Craft and Design, The Monacelli Press, New York, US

2011
M.Fairs and M.Wanders, 21st Century Design, Carlton Books Ltd, London, UK

2009
Williams, G., Exhibition Catalogue, London, Victoria and Albert Museum, Telling Tales: Fantasy and Fear in Contemporary Design: Narrative in Design Art

2008
M. Erlhoff, T.Marshall, L.Bruce and S.Lindberg, Design Dictionary: Perspectives on Design Terminology (Board of International Research in Design), Birkhäuser Architecture, Basel, CH
L.Schouwenberg and G.Staal, House of concepts, die Gestalten Verlag, Frame Publishers, Amsterdam, NL

2007
T.Dixon, And Fork: 100 Designers, 10 Curators, 10 Good Designs, Phaidon Press, London, UK,
P.Urquiola, The International Design Yearbook, Laurence King Publishing, London, UK  
C.Lefteri, Making it, Manufacturing Techniques for Product Design, Laurence King Publishing, London, UK
L. A Savoir, Pattern Design, Applications and Variations, Edition Olms, Oetwil am See/Zürich, CH
H.Kamphuis, and H.Van Onna, Atmosphere: The Shape of Things to Come Architecture, Interior Design and Art, Birkhäuser GmbH, Basel, CH

2006
G.Williams, The Furniture Machine, Victoria and Albert Museum, London, UK
L.Slack, “What is Product Design?”, Essential Design Handbooks, Rotovision, Sussex, UK
J.Hudson, 1000 new designs and Where to Find them, Laurence King Publishing, London, UK


SELECTED ARTICLES

2013
“Art in Product Design”, Architecture + Design, June
G.Jeffers, “Against the Grain”, Interiors, April
J.Walsh, “Wood Proves Its Mettle in the Museum of Arts and Design’s “Against the Grain”, Artinfo, March

2012
M.Leigh, “Marker May – Demakersvan”, Rhine Capital, 16 May
A.Von Uta Abendroth,“Designer erfinden den Tisch neu”, Bayerische Rundschau, 17 April
T.Price, “Bringing the Butterfly effect to life”, Renewable Energy Magazine, January

2011
J.Hill, “Objects of Desire”, Wired, October
F.De Wild, “Bureau de Change”, Frame, August
“Lectori Salutem – A design by Storytellers”, Rixos Magazine, Summer
“Virtue of Blue Chandelier by Jeroen Verhoeven”, Eco-Ques, 30 May
“Lectori Salutem Desk by Jeroen Verhoeven”, Mocolocco, 19 May
K.Dominy, “The Curious Image by Jeroen Verhoeven”, Design. NL, 12 May
Half9, May

2010
“Smart Arts – How to Spent It”, Financial Times, UK, 20 February 

2009
Connaissance des Arts, September
IDFX Magazine, April


PUBLIC COLLECTIONS

Art Gallery of Western Australia, Perth, AU
Brooklyn Museum, New York, US
Die Neue Sammlung, Munich, DE
The Corning Museum of Glass, New York, US
Groninger Museum, Groningen, NL
Museum Boymans van Beuningen, Rotterdam, NL
The Museum of Modern Art, New York, US
Centre Pompidou, Paris, FR
Victoria and Albert Museum, London, UK

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