Flowing through time and creation: Critical reflections
- Christianna Asprouli
- 22 hours ago
- 4 min read
"Everything flows" (τα πάντα ρει), according to the ancient Greek pre-Socratic philosopher Heraclitus. This ancient saying expresses that everything is in constant fluidity, a continuous motion, a perpetual transformation. Nothing remains the same, stable or unchangeable.
This is what came to my mind as a first thought, having studied and archived nearly the entirety of Babs Haenen’s works, and heading towards the critical publication. I am contemplating how, based on this idea, I could illustrate the evolution of Babs’ work as a starting point for drafting a text that presents the stages and phases she has gone through, from the beginning of her career until today. I believe I need to base this on the timeline of her 45-year artistic journey.
I am considering using this saying as both a guiding principle and an initial critical approach to how Babs has managed and utilized her talent in ceramic art. There are two main pillars I could focus on:
Her artistic creations have continuously evolved. This natural artistic progression over the years has led to the visual outcome we recognize in her work today.
The concept of flow and movement is inherent in her work. She employs a flowing technique, which is a key characteristic of the forms she creates.
In the coming week, I will meet Babs one final time in Amsterdam. Once again, I will have the opportunity to visit her studio and home to discuss and deliberate on how to create the critical publication of her work in the best possible way—this being the immediate objective. Naturally, we will revisit the database I created, to conduct a final thorough review of all the recorded information related to her work, an overview of which I have already presented in my video .
Additionally, there is a scheduled meeting with a potential publisher to discuss the format of the book and all the essential elements it should contain to ensure a flawless result.
One thing I am absolutely certain and excited about is, that our conversations will once again be highly constructive. This is because Babs, as a personality, is a social butterfly, spontaneous, enthusiastic and open about her thoughts. She immediately makes it clear how she envisions her work being described and what exactly she expects from you. Our collaboration is impeccable and fruitful. I anticipate that this meeting, too, will be characterized by a continuous flow of thoughts and ideas exchanged between us, which will serve as the foundation for building the critical publication.
I am also considering incorporating the expected emotional flow on her part, triggered by various life events—her love for dance and movement in general, friendships, travels and so on. These elements could certainly serve as a starting point for understanding how they shaped her as an artist, ultimately being reflected in her work. Through this approach, I aim to document her ever-evolving technique to this day, analysing the different phases of her artistic journey.
Moreover, an interesting perspective would be for Babs herself to analyse each of the four-plus decades of her artistic contribution to the world—if she deems it appropriate. She could also, if she wished, describe her impressions and how she would characterize her journey in terms of success and recognition over the years.
A very important role in shaping the critical publication will be played by the ten “voices”, as Babs aptly called them, referring to ten prominent figures from the art world—ranging from gallerists and exhibition curators to her longtime close friend. Each of them, in one way or another, is connected to Babs, either because they have purchased one of her works or have curated one of her exhibitions. Soon, I will be interviewing them so that their insights can be incorporated into the critical publication.
As for the finalization of the format, texture and artistic content of this highly anticipated critical publication, these decisions will be made in due course by Babs, the publisher and myself.
A sentimental memory from my student years also comes to mind. My first attempt at creating an artist’s book was as a student at the Athens School of Fine Arts (ASFA), for a competition related to Athens being designated as the UNESCO World Book Capital in 2018. I created it with the intention of connecting the past with the future, using the Venus de Milo—one of the classical masterpieces of Greek antiquity—on one side and the statue of the Runner, symbolizing the future, on the other. Now, fate has placed me in the fortunate position of contributing to the creation of the critical publication of the work of a renowned ceramic artist.
In the case of Babs Haenen, I am searching for the most appropriate way to connect the beginning of her artistic journey, in the past, with her evolution and progress up to the present, while envisioning her creative future.
Babs has allowed me to understand, as much as possible, her inner world. She has given me the opportunity to admire her works up close, both in her studio and in museums we visited together, as well as by meeting and interviewing collectors who own her works. Through these experiences, I have formed a more comprehensive picture of her unique artistic psyche.
Babs Haenen has successfully completed till now 45 years of artistic creation. Could the four visits I have made to her space, perhaps, be considered a reasonable analogy, with each visit corresponding approximately to a decade of her artistic contribution? The critical publication will reveal the answer.