How can a mask, such a simple object, evolve and escape the confines of its origin as a religious or cultural object to become something more?
I got the answer to this question from an article of a group exhibition that Babs participated in. The "Masquerade" project as it was called, was organized by the Association of Friends of the Frans Hals Museum (previously known as De Hallen Haarlem) for their silver jubilee. They called on artists and designers with connections to De Hallen, Babs among them, to transform blank masks into unique pieces of art. But before I go further into this celebratory project, I think it is a good idea to give an overview of the evolution of the masks in the human history.
From the early days, masks have been used to express emotions, conceal identity or perform rituals. They are timeless, transcending styles and movements in art. Masks have been employed in various contexts, from festive celebrations to solemn rites of passage, functioning as vital tools in religious, cultural and social practices. For example, in Ancient Greece, actors wore masks to play Comedy or Drama, in Ancient Egypt were the ornate masks of the mummified pharaohs or, in Africa, where masks play a crucial role in ceremonies, acting as intermediaries between the human and supernatural worlds. And over the years, with the discovery and trade between countries worldwide, the role of masks employed in significant life events such as births, deaths and rites of passage or rituals to connect with the spiritual realm, started to change.
Image 1: 1. Top left - Clay Roman replica of Ancient Greek tragedy mask, Top right - Clay Roman replica of Ancient Greek comedy mask, Bottom left - Tutankhamun's golden mask, Bottom right - African mask
Image 2: King Agamemnon of Mycenae, funerary mask, 16th century BC
In Europe, masks have been integral to festive traditions. Historically, in the seventeenth century, masks were central to carnival celebrations, where revellers or merrymakers, disguised as "mummers" (masked and costumed people who raided parties without being asked), indulged in wild festivities. This tradition underscores the dual nature of masks as symbols of both unrestrained joy and potential chaos.
Image 3: Mummers in 14th c. Illuminated Manuscript
The artistic evolution of masks took a significant turn in the early twentieth century. Artists like Pablo Picasso were deeply inspired by the simplicity and raw expressiveness of African masks. This inspiration led to the development of Cubism and other modern art movements. Picasso's "Les Demoiselles d'Avignon" is a prime example of how African masks influenced Western art.
Image 4: Pablo Picasso, Les Demoiselles d'Avignon, 1907
In Belgium, James Ensor was known for his works featuring carnival masks, which depicted a world of surreal and grotesque figures. Ensor's use of masks added a mystical quality to his work, blending reality with dreamlike elements.
Image 5: James Ensor, The Intrigue, 1890
Even now, in the 21st century, we see people wearing masks in our everyday lives: in games, musicals and films. From Zorro to Batman and to the Phantom of the Opera, masks embody faith, superstition, unrestrained joy, ultimate sorrow, feelings of revenge and anonymity. But we also see masks functioning as a literal protective device in the construction industry, in various sports like American football and fencing, and even in our recent global pandemic.
So, coming back to the "Masquerade" project at De Hallen Haarlem that I read, the Museum wanted to showcase the contemporary relevance of masks in art, demonstrating the enduring appeal and versatility of masks as a medium. Babs, like all the other chosen artists, received a white plastic mask of approximately 24 by 16 cm, with 'empty' eyes, to be decorated. Instead she decided to make a porcelain mask, her own version that closely resembles all her art works, using the plastic mask as a model. The eyes are mostly covered, and only small holes exist in their place to let the wearer see through them, giving a semblance of eyes. Babs, using her porcelain slabs and glaze, gave to her mask the beautiful colours of her vessels and mountains.
Image 6: Mask, Estate Madeleine Eekels- America, 2012
Image 7: Mask, Collection Babs Haenen, 2012
All the artworks of the project were exhibited at the museum and later auctioned, with the proceeds going towards the acquisition of a new artwork for the permanent collection of the museum. I think this is a good and innovative idea that other museums around the world should emulate, not only to promote new artists but also obtain the means to acquire art pieces missing from their collections.
As you can see, from their use in ancient rituals to their influence on modern art, masks represent a universal form of expression. The "Masquerade" project at De Hallen Haarlem is a testament to the ongoing fascination with masks and their ability to convey a wide range of emotions and ideas, highlighting the mask's role as both a functional object and a powerful symbol.
Stay tuned for the next article on Babs! …ᘛ⁐̤ᕐᐷ
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