The following text is a transcription of an episode from the podcast "Art on the Border," originally aired in Dutch and hosted by Gemma Boon. The podcast delves into the future of art, exploring how to unite policymakers, artists, and residents toward common goals. This particular episode features a discussion with Maria van der Meer, who shares her personal journey as an artist and her perspective on the evolving role of art in society. For our Dutch speaking friends: listen to the podcast here. To see all the featured works of Maria at FRIDA, click here.
Does art still have a future? What does it take to align policymakers, artists, and residents? Tune in to "Art on the Border," a serious podcast with a hint of humor about the value of art in the borderlands, hosted by Gemma Boon.
Welcome to Art on the Border. Today, I am joined by Maria. Maria, could you briefly introduce yourself? Yes, I can. I am Maria van der Meer, originally from the West. I was born in Bloemendaal. I discovered Lochem 25 years ago and have been very happy in the Achterhoek and Twente regions.
I appreciate the quiet, the calm, the people, and the time they take; it reminds me of Bloemendaal from my childhood.
Maria, you've told me that you've always worked. Why did you choose not to attend art school, but instead earn your living elsewhere? Well, my uncle is an artist whose work is even displayed in a museum in Amsterdam. Once, at a birthday party, he hoisted up a drawing I made and proclaimed to everyone, "Look, this is an artist!" I was so startled by the attention that I hid my art for years.
Why did the word 'artist' frighten you so? It wasn't just the word, but the spotlight it put me in was difficult. Everyone stared, and I felt it wasn't for me.
As a young girl, I expressed my emotions through drawing. I didn’t talk about them; I drew them, focusing significantly on eye movements and their expressions depending on the feelings.
Art for you is also a way to express your emotions and maintain calmness, right? Yes. It's crucial for me that others feel the same peace when viewing my work, though they don't have to feel exactly as I do, as their experiences may differ. But it’s great when someone deeply understands what I’ve conveyed.
I’ve always worked with people who needed to process things in similar ways, which has been wonderfully fulfilling.
Can you tell us about your career path? People would come to me, looking somber or unable to discuss their issues. They often left with a sparkle in their eyes, having worked with colors and experienced something transformative, which was incredibly rewarding for me.
I've learned a lot on my own and through my uncle, who taught at the Royal Academy in The Hague. He always advised me to stay true to myself and avoid formal art schools because they might stifle my creativity.
Have you ever felt hindered by not attending art school? No, although I did feel the allure of the academy when younger, thinking it would validate my status as an artist. Now, I believe being less visible without an art degree is true in some situations, depending on who views your work.
Maria, you are set to exhibit at Frida starting January 10th. Have you ever felt limited by not being a traditionally trained artist? For me, calling myself an artist has been more about convenience. I've been able to live out my artistry with others and on my own, which has always made me happy.
What achievements in your career are you particularly proud of? I'm thrilled about working in layers, starting with not knowing where a piece might lead but enjoying the unfolding process.
Looking back, as one of the first generations of working women, do you feel that being a woman has impeded your artistic career or work? Having grown up partially in Canada, where working women and childcare were the norms, I was surprised by the differences when I returned to the Netherlands at 18. My experiences there and my mother's example taught me the importance of self-reliance.
Now, I continue to create, discussing colors and lines with people, which significantly impacts them if they're open to it.
What would you advise young female artists? Stay true to yourself. That's where the most beautiful works stem from. Avoid conforming to societal expectations, especially those that dictate commercial success over genuine expression.
Join us next time on Art on the Border, as we speak with Lene Ter Haar and Doene Seitzema from the Cultural Embassy in Düsseldorf to discuss their roles and the state of art on the border. Hosted by Gemma Boon, this podcast is supported by the Mondriaan Fund and Stichting Frida.
Photo: Maria van der Meer, during the installation of the exhibition with her work at FRIDA.