About

Artist Statement

Body and Origin

My work emerges from my own deepest fears and desires, which I connect to larger social and existential tendencies.
I explore how experiences, histories and vulnerabilities are carried within the body and set into motion.
I work with video and performance, in combination with sculpture or installation, using the body (or parts of it) as a vehicle for abstract ideas.
Recurring themes are intergenerational relationships and the desire for connection.

That desire has its origins in my childhood; I grew up in a family full of tension, which slowly and painfully fell apart.
My parents, my brother and I lived separately, while I longed for closeness, both emotionally and physically.

Artistic Proces

My artistic process is autobiographical: by examining my own fears, struggles and desires and translating them into art, I try to understand and interpret life. In this, I am inspired by the phenomenological thinking of Maurice Merleau-Ponty: the body not as an instrument, but as the place from which we experience the world. For me, that body is not abstract, but concretely present: a soap hand that slowly dissolves, a hand from which life disappears, a mass of bodies moving in circles. The chosen materials and movements carry the emotional logic of the work: dissolving, circling, imploding.

I make work that invites the viewer to truly feel it in their own body, inviting an embodied experience.
It is a form of reparative looking: a process in which the viewer does not only observe, but through the work sets something in themselves into motion. The same applies to me; through making, something in myself changes or heals.

Body and Context

I connect intimate experiences to broader social tendencies and to existential questions surrounding care, vulnerability and legacy. In Polluted Mother, for example, I formed the body of my mother from PFAS-contaminated earth. The work addresses ecological anxiety, but also what is passed on through the body to the next generation.
In the kinetic installation At night the knives are sharpened, seven sets of teeth grind themselves to pieces. The work speaks about my own sensory overload, but also about how destructive unconscious and unspoken tensions can be.

Working Method

I work slowly and selectively. I cut away and concentrate until only the essence remains. My works are carefully constructed, seemingly simple and direct, but emerge from a layered and ongoing process of embodied research. This process takes place in my studio, but also through collaborations with scientists, performers and other artists, in conversations with friends and in the everyday life around me.

A Plea

Through my art, I invite reflection on the complexity of being human. It is a plea to allow deeper feelings to move and to make the ugly, the human, the uncomfortable visible. I solve nothing; that something is set into motion is enough.

Roos van Geffen (Nijmegen, 1975) is a multimedia artist based in Amsterdam, working with video, photography, installation and performance. She studied scenography at the Academy of Arts in Tilburg and at the Maastricht Institute of Arts.
Her practice is a mix of lens-based media and spatial installation,grounded in embodied and phenomenological artistic research. She investigates how emotions, experiences and memories are stored in the body and set into motion. In her work, the body functions as a carrier of abstract ideas and a site of meaning. Working from autobiographical experiences, fears and desires, she develops long-term research trajectoriesthat connect the personal to broader questions of care, vulnerability, loss and legacy. Intergenerational relationships and the search for connection are recurring themes.

Van Geffen’s work has been presented internationally, with exhibitions at Palazzo Barolo, Turin (IT), Battersea Arts Center, London (UK), The Human Impacts Centre, New York (US), Fotodok, Utrecht (NL), Stedelijk Museum Schiedam (NL), Penningsfoundation, Eindhoven (NL), Gallery Meno Parkas, Kaunas (LT), Czong Institute for Contemporary Art, Gimpo (KR), Buitenplaats Doornburgh, Maarssen (NL) and Museum Jan Cunen in Oss (NL), among others. In 2020, she presented the critically acclaimed retrospectiveEat Love DieatMuseum Tot Zover.
She has received grants fromMondriaan Fonds, Cultuurfondsand Amsterdams Fonds voor de Kunst. In addition to her artistic practice, Van Geffen teaches at various art academies and supervises emerging artists.

More about my artistic process

A work often begins with the desire to understand an experience won’t let me go: loss, guilt, complex relationships, a longing for forgiveness or closeness. I relive how such an abstract experience is stored in my body and search for a form that can carry that inner charge. I approach my subject from different perspectives: embodied, philosophical, societal, art historical, sometimes in collaboration with scientists or performers. I work towards images that transcend the personal without being directly explained. I choose medium and material carefully, as they are inseparably connected to the content.For example, in Courtesy of The Artist, a performance that emerged from my frustration that the most valuable thing I can create, a child, is not regarded as such within the art context. At the same time, it questions the tension between art, care and economic necessity. My son separates the chaff from the grain, seated on a fragrant mound of wheat sheaves that refers to fertility, new life and growth, but also to the necessity of putting bread on the table.

I approach the making process as a game, with self imposed rules that guide the creative process. Repetition, restriction and ritual constantly return. With my (video) camera, I follow events or choreographed actions. These actions are not performed as representation, but carried out as real, lived movements in time. Through repetition, nuances become palpable and an underlying layer emerges. In the editing process, I focus on rhythm and dramatic structure to reinforce that underlying layer. For example, in the video installation Fuga, a choreography of falling bodies, the performers developed the rules during six weeks of rehearsals: how to fall, look and stand up. Each performer was given an individual falling sequence, filmed on one uninterrupted 16mm film roll. This restriction captured the tension and intensity of the live performance. The work emerged from my desire for surrender and the need to sometimes disappear, physically and mentally.

My work invites an embodied, sensory experience. In the presentation, I experiment with  how a work physically relates to the viewer. My works are a mix of lens based media and installation, often presented at life size, allowing the viewer to mirror themselves or physically extend into what they see. Sound and scent can be intrinsic elements, always conceived from the content.In the diptych Mother and Child, I wash my hands with a soap cast of my mother’s hand. The work, installed at belly height, allows the hands on film to visually merge with those of the viewer. At the same time, the scent of myrrh from the soap spreads through the space, a warm, enveloping scent historically associated with suffering and love. In this way, the sensory experience resonates with the core of the work: mutual dependency, care and forgiveness.