During my time working together with Babs, I came across a very interesting black and white photo in one of the catalogues I was scanning. It showed a laid-out table with 2 plates and cutlery and in the center there was one of Babs’s artworks. Babs told me that the plates and the cutlery were embroidered by her, which is quite astonishing if you think about it. This photo was taken during the themed exhibition "Zo zijn onze manieren" (Such are Our Habits) at the Carin Delcourt van Krimpen gallery, where artists commented on eating tools and related objects. For this exhibition, Babs created a kind of installation to showcase in the best possible way her artwork. But as always, when writing a blog, I like to research a bit and that is why I wanted to learn about the origin of the centerpieces.
What I found was that in ancient Egyptian and Greek civilizations, early centerpieces included simple items such as fruits, flowers, and bowls of grains, symbolizing abundance and fertility. Meanwhile, in medieval Europe, there were the elaborate displays of food, like roasted peacocks and swans presented in their plumage showcasing wealth and culinary skill. During the Renaissance, the centerpieces became more artistic and ornate, reflecting the era's emphasis on beauty and artistry.
Image 1: Medieval painting of a feast with peacock centerpiece.
The 19th-century Victorian era saw an explosion in the variety and complexity of centerpieces, like intricate floral arrangements, figurines, and candelabras. Moving into the 20th century, Art Nouveau and Art Deco styles influenced centerpiece designs, emphasizing modernity and elegance. Simpler, more functional designs became common in the mid-20th century, with a later shift towards minimalism and simplicity. Today, in the 21st century, centerpieces are incredibly diverse, ranging from DIY and rustic styles to high-end designer pieces, with a focus on sustainability and the use of natural and recyclable materials.
Image 2: Recreation by modern chef and historian, Ivan Day, of 19th century centerpieces.
Image 3: Art Deco centerpiece.
As I look back on what I read, it is quite interesting to note the different ways a centerpiece was symbolized in the various historical periods.
And against this historical backdrop, Babs’s work represents a contemporary twist on the form of a traditional centerpiece. This twist happened naturally with the departure from the vessel shape and the application of alternating structures leading her towards larger forms, culminating in her 'table pieces'. For Babs, creating a real “pièce de milieu”, or centerpiece, was inevitable.
The artwork that drew the most attention during the exhibition was the one I mentioned previously, 'De Tafelberg' (The Table Mountain). It was presented on a small oval table covered with a damask tablecloth - hand embroidered with plate and silverware outlines - together with two antique glasses, in a way that highlighted the ceremonial significance of the centerpiece. The sculptural form of 'De Tafelberg' resembles a textured landscape, with deep rifts amidst white.
Image 4: Centerpiece 'De Tafelberg', H 20 x D 42 x W 23, 1993, as presented in the exhibition 'Zo zijn onze manieren', at the Carin Delcourt van Krimpen gallery.
To build such intricate pieces, Babs had to use plaster molds with various shapes, combining up to four in a single work and resulting in similarities across her centerpieces. This method allows her to create variations in pattern and structure, as seen in 'L'Eternel retour’ which was completed in 1994. This piece showcases a busy, kaleidoscopic pattern with flowing bands of colour, Rothko-like hints, and faintly textured surfaces. In my opinion, Babs’s technique of cutting and manipulating the coloured porcelain slabs into intricate patterns evolved greatly from her earlier works.
Image 5: L'Eternel Retour, H 25 cm x D 37 cm, 1994, collection Allan Chasanoff, New York.
Babs’s evolution continued with two colossal centerpieces. They were designed to spark conversation, placed in settings where dining served diplomatic purposes. This transition to more architectural forms seemed inevitable, leading to the creation of 'L'Interlude Architecturale' in 1996. This piece, with its conglomerate of faded pink, blue and green volumes, evokes the dynamic architecture of Frank Gehry. The cell structure of one side of the artwork even hints at cave dwellings, held together by a pattern of straight planes and gently distorted swathes of colour.
Image 6: L'Interlude Architecturale, H 22 cm x D 42 cm x W 25 cm, 1996, private collection, The Netherlands.
In the late 1990s, Babs did a commission of a centerpiece for Benno Premsela, a renowned designer that I have already mentioned in a previous blog, who unfortunately did not get to see it completed. This centerpiece was called 'Zonder titel' (Untitled) and is now in the collection of the Stedelijk Museum, in Amsterdam. Babs got the inspiration for this piece from a bag that Benno Premsela showed her, which contained dozens of strips of toilet paper, all of them pink, which he had collected over the years to use as colour samples. Looking at Babs’s artwork, one can almost imagine a pile of paper shopping bags stacked against one another.
Image 7: Zonder Titel, H 26 cm x L 52 cm x W 21 cm, 1997, collection Stedelijk Museum Amsterdam.
One of her more playful pieces, 'Le retour éternel du ciel,' incorporates patterns from simple cotton prints, such as a yellow fabric with green dots and a blue-and-yellow check pattern, alongside Rothko-inspired bands. This technique involves cutting the slabs and joining them together, often squeezing gathers into these sheets to enhance the textile-like quality of the material, sometimes resulting in a petrified drapery effect.
Image 8: Pièce de Milieu 'Le Retour Eternel du Ciel', 1995, H 22 cm x D 32 cm x W 26 cm, collection Dutch Embassy, Berlin.
Babs’s ability to continually transform simple slabs of clay into complex, vibrant works of art is nothing short of magical.
I am always amazed and excited when I get to learn about these so different and simultaneously so similar artworks of Babs, and I look forward to get the chance to find out more of her life and artwork. And – I believe – all you, too!
Stay tuned! (づ ◕‿◕ )づ
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