Caroline Kampfraath
Caroline Kampfraath is a Dutch artist from Amsterdam. She crafts intricate 3D art that blends diverse materials to convey her insights on life, nature, and society.
Her work is visually characterized by the integration of unexpected objects like metal cans, bottles and human forms, which serve as metaphors for our emotional and environmental experiences. The choice of materials in Caroline’s oeuvre is as eclectic as the symbols she employs: from natural resin to clay, flax to artificial resin, wool to lead, plaster to glass, and bronze to stone. The seemingly incompatible nature of these materials creates a visual tension that captivates the viewer.
Through her sculptures Caroline creates a bridge between the tangible and the intangible, inviting a richer understanding of our existence. Her art speaks to the idea of connection; whether it is between humans and nature, individuals and society, or our inner and outer worlds. Her pieces encourage a deeper reflection on these relationships, offering a nuanced explanation of human life, change and our evolving relationship with the world we inhabit.
Caroline, in developing the complex 3D forms you are known for, could you describe the journey from the initial moment of inspiration to the realization of these ideas in physical form? What are the conceptual, emotional, and technical steps involved in this transformation?
I go through different stages to arrive at the final forms of my works and thoughts. The start of the process may vary. Most of the time, I start with a thought, a concept, a story. Something around me or in me provides inspiration and I cannot get it out of my mind; it makes me restless, I see images with it. Sometimes the materials bring me ideas while I experiment with them before, and also during the production process of a work.
Then I start sketching those images. Later, I explore the idea with small 3-dimensional models to look for the materials and to develop the concept. When I start the building process, the struggle begins because practical reality is different than what I have imagined. Doubts arise. I have to make choices - without losing the original emotion. Sometimes I have to kill my darlings, even the things I was sure of, to get back on track. Although I keep on doubting until the end there is a moment -especially when components come in that are made by specialists- when things come together: I recognise the original emotion in the result.
Given the eclectic array of materials you use, from natural resin to lead, how do you approach the decision-making process for selecting the right materials for each sculpture? Can you discuss a specific piece where the material was pivotal in shaping the viewer's emotional response?
I use a lot of different materials, such as artificial resin, natural resin, bronze, stone, used objects, plaster, clay, marble and so on. I know which material I need from a very early stage. Researching it is part of the process; it brings me closer to the emotion I want to explore because every material has its own possibilities as well as practical restrictions. A good example of this is the natural resin I use. The material is very beautiful in colour and smell but I have had to invent previously non-existing methods to apply it well. I was determined that I wanted to use it for a big sculpture (The Trees Weep Upon us, We’ll be Fossils by Then) but had to find out how to use this along the way. Working with this material brought me closer to my concept: I wanted to share my discomfort with our relationship with nature. And resin is like blood for the trees.
Your sculptures often bring together natural and industrial materials, creating a dialogue between the two. How do you think this combination affects the viewer's perception of environmental issues, and what do you aim to communicate through this juxtaposition?
I believe that there must be a balance between industrial materials and natural materials. They interact. Producing industrial materials often comes with threatening the environment but that shouldn’t be necessary. To use these materials in combination and by creating a dialogue they can make viewers aware of the necessity and the beauty of both.
How do reflections of your own life experiences and your interactions with your surrounding environment manifest in your art? Can you provide insights into how your personal background influences your artistic decisions, especially in terms of thematic focus and material selection?
Both of my parents grew up in Indonesia surrounded by nature and they and my grandparents told me stories about it: about tigers on the road to school and snakes in the bathroom. Living in The Netherlands not always came natural to them. Because of my background, I learned to look around myself and question life as an outsider, as my parents did. This questioning of everyday matters comes back in my work; finding mystery in materials and telling stories with them has an origin in my background.
Many artists struggle to balance aesthetic appeal with social or environmental messaging. How do you manage this balance in your work, particularly when employing materials that are both visually striking and symbolically loaded?
In my work, aesthetics and message flow naturally together because my work has a conceptual basis. It is the concept that counts and it should not be overruled by artistic appeal. So the materials I use are the carriers of the concept. The struggle is to keep the conceptual idea clear, while dealing with the quirks and possibilities of the material.
Your work is notable for its use of a diverse range of materials, each adding its own voice to the overall narrative of the sculptures. Could you elaborate on how these materials interact within a single piece to provoke thought and evoke a multi-layered response from the audience?
My last piece, Fly to Me, My Enemy, is about the consequences of a past war for the coming generations. For the cranes I used aluminium, a clear but cold material referring to military planes, while the traditional paper crane stands for hope and prosperity. The sculpture shows the audience a mixed feeling of a symbolically loaded image in contradictory material.
Integrating unconventional materials into fine art can present unique challenges. Could you share some specific obstacles you've encountered while working with such diverse materials, and how these challenges have pushed the boundaries of your creative expression?
Working with natural resin was a big challenge because it is not possible to use it for a solid sculpture. It is very sensitive to heat and cold and it will crack. So making a single large piece was not possible and, furthermore, I wanted to make it for a 6-month exhibition during the Venice Biennale where summers are hot and winters are cold. I decided to make a sculpture in the form of a chandelier - referring to the glass chandeliers of Venice. By making a big sculpture with smaller elements I could still use the material.
The recurrent motifs of human forms intertwined with elements of nature are striking in your work. How do these symbols serve to connect the physical to the metaphysical, and what do they reveal about your perspective on human existence and our relationship with the natural world?
The intertwining shows the vulnerability of the human being. We are losing contact with our natural environment and become increasingly removed from basic life. We lose control of basic needs like water, fresh air and human contact. We position ourselves alongside nature instead of being part of it. We are creating more and more technological, one-purpose toys on which we physically and mentally depend (see Dead Dogs Envelop). We are losing touch with our natural world and, as a result, we are losing control over ourselves.
You’ve mentioned that using a variety of materials allows for communication on a different level. How do you believe the physical properties and cultural associations of the materials you choose enhance the communicative power of your sculptures?
These properties and associations are essential to represent the thoughts I want to convey. By means of the cultural connotations in my works, I want to connect with the audience on more levels than just the narrative one. There may be a common recognition in materials and image, but associations may differ between people. By combining materials, image and sometimes size I create a new meaning for them. I think this is the value of art: placing matters in a new perspective, creating a new truth, challenging myself to step out of my comfort zone and inviting the audience to do so as well.
Looking ahead, how do you anticipate your art will evolve in terms of themes, materials, and methods? Are there particular materials or environmental issues you are eager to explore or address more thoroughly in your upcoming works?
At this moment I am at an art residency in Japan and will be here for a few months; in this setting, I am learning a lot about materials and culture which brings me new perspectives that I can draw from when creating new works.