Find out what artists listen to while they work:

Studio Playlist 2021 #30: Ondine de Kroon

http://www.ondinedekroon.nl/
http://ondinedekroonprinting.wordpress.nl/
Meet Ondine in her studio and support local artists through:
https://kunstambassade.nl/kunstenaars/ondine+de+kroon/

1 Dimitri Shostakovich – Violin Sonata G Major – Duo TschoppBovina
2 Bartók – Complete works for piano volume 3: Bartók and the folk music – Andreas Bach
3 Bartók – Contrasts for Clarinet, Violin and Piano – Ludmilla Peterková
4 Amy Whinehouse – Back to Black
5 Madou – Ronquière
6 Stromae – Multitude
7 Concert Arban – The Harlem Rag
8 Akira Ifukube – Three Lullabies Among the Native Tribes of the Island of Sakhalin

Dimitri Shostakovich – Violin Sonata G Major – Duo TschoppBovina

Bartók – Complete works for piano volume 3: Bartók and the folk music – Andreas Bach

Bartók – Contrasts for Clarinet, Violin and Piano – Ludmilla Peterková

Amy Whinehouse – Back to Black

Madou – Ronquière

Stromae – Multitude – Santé

Concert Arban – The Harlem Rag

Akira Ifukube – Three Lullabies Among the Native Tribes of the Island of Sakhalin

TOOLS OF THE TRADE
> what tools and materials changed your life?

How linoleum changed my artistic life.
For my graduation at Art school in 1989 I was working with found objects. While roaming around on building sites I found a roll of lino. So, I started to cut and print. At first in black and white. Using a wooden spoon to press and print. My husband, at the time, bought me a Picasso book about his linocuts. We were very poor those times, so I was curious how he could give me such an expensive book. He explained: he priced the book off himself with an offer sticker he took from another book. After studying the pictures of the Picasso prints, nearly all in reduction technic, I started to print in multiple colours. I was successful with my first series of colour prints, sold them to the Museum Boijmans van Beuningen. Still I could barely keep my head above water financially and could not buy a press. Years after a boyfriend built me a wooden spoon machine. He came from the ex Sovjet Republic of Georgia, so he knew how to deal with a lack of machinery. He improvised my Oubedouri machine (Oubedouri means poor). The machine consisted of an electronic drill with woodblocks circling, and mechanical arm. In 1995 I had to move and I got a relocation fee, which I totally spent on a press which is specially built for me. It is a Rocco etching press with two roles of 80 cm wide moving separately. This helped me to make large editions. I had multiple commissions and I could afford me a drying rack. Politics changed and large companies as well as Art Lending Libraries sold there overload of collection. The market for prints in edition was crashing. Because of this lack of market I choose to don’t let go of my favourite material but experimented to use it in a different way. In 2005 I started to print on wood. That is why I bought an electric jigsaw. Initially I used the structure of the wood as a canvas. Soon I started to use the fact that you can multiply by printing and I used the layers glued together. I did started to teach in primary schools and I was looking for more interaction. In 2019 I moved my studio and press to a collective building in an old school building called Wijkpaleis (Neighbourhood Palace). In this building I found both the school which is still on the top floor as the neighbours to work with me. Other creative entrepreneurs inspired me to use an other machine which is available to use in the public space: the sewing machine. Together with the neighbours I made a gigantic book about the neighbourhood park. Printing in lino, in etching, in stamps and added machinal broderies to it. Last year I casted with another entrepreneur of the Wijkpaleis, Hanna Kerkhof, concrete tiles of a lino mould. I miss sometimes the printing on paper, the sensitivity and fragility of it. So, on top of all those experiments, I never stopped to print on paper.