Gitta Pardoel……………..Restore Place

The latest works from Gitta Pardoel seem to go about furnishing space through raw, recycled material. She visualizes by these works, details of nature through her artistic vocabulary. She processes the material (wood) to expand the significance of place and to index the ideas, after stripping the material from its decoration. In doing so she let us measure our surroundings in a new way. The places now furnished with this crude material leads their expression through the neutrality of its material and the spontaneity of the performance.
These groups of works, made out of wood and trash formate entities depending on the space itself, the landscape, without purloin or hide the identity of the place, or confuse its virginity.
The artist Gitta Pardoel, looks at the landscape as a poem. We cannot disturb this poem by wiping away its ink. We cannot change its being, but we can artistically read its logic, hear its speech, without abusing its value or identity. The artwork shall keep the nature in balance for us and clarify meanings.
These installations form a code to point out our lives and our isolation. At the same time they restore the place from its solitude through visual reflections, to reveal our presence in the scene, the scene which reduces our daily questions which besiege us.
Perhaps the ruins and the presence of uncertainty more than our own presence in the scene. They dress the soul of the material. The soul meant to be isolated from its body to turn into a residue as if the ruins eroding by migration.
The works of Gitta Pardoel are divided between the appearance of vertical forms like the vertical humans of Giacometti, which seem to be a representation of anxiety and frailty of the individual and his existential obsession. And between blocks placed in a repetitive position like they were gathered by nature itself, like the place has been abandoned or as luggage from which we do not know what is in it or what its destination would have been.
Gitta Pardoel graduated from the Technical university of Delft, NL, in 1991 by earning a master degree in architecture. She studied fine art at the school of fine art in Utrecht and obtained a master degree in art, architecture and design from the university of Montfort, UK. She worked at a variety of offices in the field of architecture, urban design and landscape architecture and carried out many designs. Currently she works as a lecturer of interactive architecture, art and spatial design at the Royal Academy of Art in the Hague and at the academy of Art, Communication and Design in Tilburg. She participated in many international exhibitions including Italy, Spain, Holland, Germany, Sweden, Argentina and Qatar.

Ali Rashid, 2016
From 6 memo's for the next millenium, Italo Calvino

(83) the mental cinema. Is always at work in each of us and it always has been, even before the invention of the cinema. Nor does it stop projecting images before our minds eye.

(95) let us say that various elements concur in forming the visual part of imagination:

Direct observation of the world
Phantasmic and onreiric transfiguration
The figurative world. As it is transmitted by culture at its various levels
A proces of abstractio, interiorisation and condensation of sense experience
Versatility, 2010, 164 plastic bags with pieces of text of a chapter of the book. Gitta Pardoel
Water, letters, graves, 2006, installation with 12 screens

In a dark space 12 screens are situated on the floor. They are positioned in a 3 ross of 4 screens behind each other. You walk along the screens which show films. You here pieces of a poem and all together the installation forms a visual poem.


holy water
i could feel
between letters
on the walls
reading water
arabic water
arabic love


1338 AC
they wrote
on these walls
with the pen
of the heart

on the ground
the trees
the marble of fences
we write
with a pen
of pain

they built
we shout


without names
without tombstones
without people
brown stones
spread on the moaning of the dead

with blinking names
with scent of flowers
marble, white marble
writing the dark end
of the prince
of the alhambra
In this installation titled deseo-tierraseca, 2 large projections are in opposed position to each other. They show 2 landscapes, one with trees, one rural, moving in slow motion. You can hear the sound of rain and wind. Slowly 2 poems about love and death by Garcia Lorca, move along the screens. The landscapes are the environment of Lorca's youth but they also deal with the experience of the place of his violent death.

Cancioncilla del primer deseo

En la mañana verde,
quería ser corazón.

Y en la tarde madura
quería ser ruiseñor.

ponte color naranja!
ponte color de amor.)

En la mañana viva,
yo quería ser yo.

Y en la tarde caída
quería ser mi voz.

ponte color naranja!
ponte color de amor!

Ditty of the First Wish

In the green morning,
I want to be a heart.
A heart.

And in the mature afternoon,
I want to be a nightingale.
A nightingale.

transform to orange.
become the color of love.)

In the ripe morning
I want to be me.
A heart.

And in the late night,
I want to be my voice.
A nightingale.

Tierra seca,
tierra quieta
de noches

(Viento en el olivar,
viento en la sierra.)

del candil
y la pena.
de las hondas cisternas.
de la muerte sin ojos
y las flechas.

(Viento por los caminos.
Brisa en las alamedas.)

transmute to orange!
become the color of love!
Letters on the wall, gedicht 17 e eeuw op subtiele wijze leesbaar op een wand in een gebouw uit dezelfde tijd. Een gebouw wat stamt uit de 1 e tijd van de regering van Holland. 2004
Stories about the change and growth of the landscape near Almería, Spain, 2006
Letters on the wall, gedicht 17 e eeuw op subtiele wijze leesbaar op een wand in een gebouw uit dezelfde tijd. Een gebouw wat stamt uit de 1 e tijd van de regering van Holland. 2004
Installation, metal, paper, epoxy, led, 2009

Historic stories written on the flowers, celebrating the history of some villages.
Letters on the wall, gedicht 17 e eeuw op subtiele wijze leesbaar op een wand in een gebouw uit dezelfde tijd. Een gebouw wat stamt uit de 1 e tijd van de regering van Holland. 2004
Fuente alamo, 2016, photograph

ik richt mijn blik omhoog
en wacht op mijn eureka
verborgen in het landschap
de ontdekking nabij.
maar nu kijk jij naar het verleden
zittend in de cirkels
onder het rond van je parasol,
de dood tastbaar om je heen
hoewel het water hoorbaar is.
het toerisme van nu zoekt
plekken van herinnering
wij zijn van ver gekomen
langs stof en citrusfruit.

ik zag de jongens
ondanks de drukke straat
met zijn oneindige hoeveelheid geuren.
als in een eigen wereld,
ballon van louter lucht
midden in de schreeuwende realiteit van de stad,
volgen zij onzichtbare patronen
die de beweging van de bal
daar achterliet, daar op de trappen
van het oude gerechtsgebouw
met zijn statische ontoegankelijke poort,
de stenen te groot voor mensenhanden.
Zij namen de ruimte in hun bezit,
alsof zij zich bevonden in hun achtertuin.
in de beschutting van de berg
waar de kronkellijn van de weg
is uitgerekt,
zien wij in droge kleuren
de trage woestijn
die de tijd vergeten is.
zij kruipt aan ons oog voorbij.
in de verte, strenge rijen
staccato oplichtende glitter
van zonlicht op metaal
een voordeel van de technische revolutie
ons ontwakend, met een zucht
in deze huidige tijd.
Tussen nu en morgen ligt nog een hele tijd, Johann Wolfgang Von Goethe
We can only see what we look at, to look is an act of choice. As a result of this act what we see is brought within our reach. To reach something is to situate oneself in relation to it. We never look at one thing; we always looking at the relation between things and our selves. Our vision is continuallly active, moving, holding things in a circle around itself constituting what is present to us as we are.

John Berger, Ways of seeing
Seeing comes before words" zegt John Berger in Ways of Seeing. The child looks and recognizes before it can speak.
……but there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we can explain that world with words but words never can undo the fact that we are surrounded by it"
…….the relation between what we see and what we know is never settled. The way we see things is affected by what we know or what we believe"
Finally, on the road. With my own studio for illustrations and visualisations. Leopardo. It took me some time to realise that I love drawing too much. From childhood until now. Time to put on the big red boots and walk seven miles a minute and make a living with what I love most and let others enjoy and remember the stories behind the images.
With the interactions between body, imagination and environment in the architectural experience, one will eventually gain some memories in every place he or she has visited. As the eye collaborates with the body and the other senses, one's sense of reality is strengthened and articulated by this interaction of the senses.
Juhani Pallasmaa
Ik was en ben altijd geïnteresseerd in beelden en plekken die een verhaal vertellen.
Ruimtelijke, visuele storytelling dus.
Spatial, visual
Ali Rashid, Li Zhao/ Ali Rashid , Rym Ayari, commissair and organisator symposium, Hammamet, Tunesie
Nja Mahdaoui, Mounia Boutaleb, Abbas Youssef, Hassan Bourkia, Amanallah Ben Miled, Rym Ayari
Nja Mahdaoui, Li Zhao, Abbas Youssef, Ali Rashid, Mounia Boutaleb,
Nja Mahdaoui, Mounia Boutaleb, Abbas Youssef, Hassan Bourkia, Amanallah Ben Miled, Rym Ayari
Orangers garden 1, acrylic on linen, 100x100, 2019
Orangers garden 2, acrylic on linen, 100x100, 2019

Collection EAC, Hammamet, Tunesia
Symposium 4th edition of ensamble d'art contemporain, Hammamet, Tunesia
Assignments for publishers el Hadjan en el tenuir, cooperation Ali Rashid