Taking a look inside Eddie Symkens' studio
How decisive is your studio for you? With this question, we went to several participants of Atelier in Beeld for our magazine Kunstletters.
Eddie Symkens creates ceramic figures in a highly personal visual language. Eddie has a studio in Maasmechelen.
Are you often in your studio?
I spend a lot of time envisioning in my mind. I don't make sketches because I might end up copying too much during creation. Once I have it figured out in my head, knowing how to translate it into clay, you can find me in my studio for a whole week sometimes.
I've decided not to go on long vacations anymore because I miss my studio too much. While traveling, I do visit many museums to gather impressions. I also have my influences, such as Rodin and other contemporary sources. But I try to protect myself a bit from what I see. For example, assemblage is now 'in'. I keep my formal language as minimal as possible, with maximum interpretation. Minimalistic with a soul. Knowing when to stop in your creative process is important to me.
I have decided not to go on long vacations anymore because I miss my studio too much. Nothing compares to the great freedom I experience in my creative process. Traveling far is not necessary for me. The studio provides me with enough peace and worldly exploration to be content.
What material do you prefer to work with?
I am a sculptor by training. Initially, I worked with bronze and polyester. However, someone suggested that I try ceramics because bronze casting is so expensive. You start to feel uncertain sometimes: should I invest the money in casting this sculpture? There's also a lot of time invested in technical aspects, like making molds. I wanted to dedicate more time to my creativity. About ten years ago, I switched to ceramics. I developed my own technique, and with ceramics, you create a unique sculpture. Occasionally, I still make bronze sculptures on commission. I have an arrangement with the bronze caster: he handles the casting, but I do the finishing, cutting the pouring channels, and patination. This way, I feel like I haven't completely handed over control.
Do you have a favorite tool?
Don't be surprised, but my favorite tool is a paring knife. I'm so used to working with it, and it has a good shape. I can sculpt very well with it, especially when creating hands and eyes. It's my most important working tool.
How important is your studio?
I think the physical space itself isn't so important; my anchor remains my artistic language and my subject matter, the human figure. But this place is intertwined with myself. Actually, it would be a disaster if I had to leave here. (laughs) It's my sanctuary and playground.
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