MAKING THE INVISIBLE VISIBLE
ANN VERONICA JANSSENS
art
Growing up in Kinshasa, Ann Veronica Janssens would often watch the sunset and sunrise, specifically the deep shades of violets, yellows, pinks and reds that swept across the sky, over the nearby mountains. She left the Congo aged 13 but five decades later, the intensity of those colours and perspectives are still woven throughout the Belgian artist’s immersive sculptural works, whether rainbow-coloured, annealed- glass panels, prism-like aquariums or installations of light and colours projected into a space.
“I’M INTERESTED IN SERENDIPITY, THAT IS A BIG PART OF MY WORK. JUST BY CHANCE, TO LOOK AROUND ME OR TO READ SOMETHING, AND THEN TO START TO DEVELOP SOMETHING WHICH COULD BE INTERESTING.”
This interview is featured in Ark Journal VOL III along with a 16-page portfolio of Ann Veronica Janssens’ artworks. In partnership with Louisiana Museum of Modern Art.
WORDS KAREN ORTON
PHOTO INSTALLATION VIEWS, LOUISIANA 2020
CASE STUDY
— THE COLLECTOR’S EYE
In The Collector’s Eye, the melange of disparate elements, vintage and contemporary, refined and brutalist, are united by a discerning eclecticism in an historic exhibition space.
ASTUTE BLEND
— KIRSTINE MEIER CARLSEN
As the founder of Studio X, a design studio and gallery in Copenhagen that acts as a laboratory for concepts, Kirstine Meier Carlsen is an individual imbued with curiosity. Her home is a natural extension of this.
DOWNSIZED
— KIM GRENAA
He is undoubtedly one of Denmark’s pre-eminent slashies. The fashion-industry insider / creative director / founder and editor-in-chief of Dansk Magazine has recently added a new slash to his list: interior-design consultant and downsizing specialist.
MAKING THE INVISIBLE VISIBLE
ANN VERONICA JANSSENS
Art
Growing up in Kinshasa, Ann Veronica Janssens would often watch the sunset and sunrise, specifically the deep shades of violets, yellows, pinks and reds that swept across the sky, over the nearby mountains. She left the Congo aged 13 but five decades later, the intensity of those colours and perspectives are still woven throughout the Belgian artist’s immersive sculptural works, whether rainbow-coloured, annealed- glass panels, prism-like aquariums or installations of light and colours projected into a space.
“I’M INTERESTED IN SERENDIPITY, THAT IS A BIG PART OF MY WORK. JUST BY CHANCE, TO LOOK AROUND ME OR TO READ SOMETHING, AND THEN TO START TO DEVELOP SOMETHING WHICH COULD BE INTERESTING.”
This interview is featured in Ark Journal VOL III along with a 16-page portfolio of Ann Veronica Janssens’ artworks. In partnership with Louisiana Museum of Modern Art.
WORDS KAREN ORTON
PHOTO INSTALLATION VIEWS, LOUISIANA 2020