Feelscape focuses on visual, untouchable art collections. It translates the visual work into a tangible object. The first step in the design process is the investigation of life, the inspiration, the intention and conviction of the artist. This is done in collaboration with an art critic, but the existing literature is also consulted. With this background, the intention and style of the visual work is assessed. The translation of the storylines of the artwork and identity of the artist is done through material, shape and position. Since 2D work has to be translated into 3D composition, there is always information that needs to be supplemented. Then it's about interpreting perspective, filling in tangible backsides and abstract images. To object to tell both the objective and subjective story, there must be choices to be made. Feelscape is therefore an interpretation of the artwork.
Material has its own emotional experience in which processing and temperature play a role. Steel, wood and rubber can differ in composition and indicate parts. Metal has an association with water due to its temperature, sanded and processed MDF with fragility and rubber with flexibility. The shape and position of the parts tell about the topic. The caracther of subjects in the art work and the relation to other subjects can be translated in a spatial manner.
Feelscape is a collaboration between Simon Dogger and Stijn Boemaars. A fusion between a blind designer and a craftsman. In 2018 we have on own initiated two artworks for the Feelscape Project.. These are the works DAZENIE DO DOSKONALOSCI, drawn by the Lithuanian artist Andrzej Wróblewski in 1952 and the Tower of Babel, painted by Pieter Breughel in 1568. DAZENIE DO DOSKONALOSCI has been acquired in 2019 by the van Abbe museum Eindhoven for their permanent collection. The tower of Babel has been in a temporary collection in 2018 In the Museum Boijmans van Beuningen Rotterdam. Feelscapes of Blanc et Noir, Piet Mondriaan and Schilder en zijn vrouw, Karel Willink, has been acquired by the van Abbe museum Eindhoven for the exposition the Making of Modern Art.
Most Dutch museums are arranged in a mono-sensory way. They mainly consist of
collections based on standard visitors. Above all, there are a lot of visible
collections where sound plays a role sporadically. The reason that museums are not entirely
Being managed inclusive and diverse is due to three mutually reinforcing factors. The
target audience does not belong to their visitor profile, there is no knowledge about inclusive
solutions and there is no budget to research and implement them.
There are some cautious initiatives to make museums inclusive. These are mainly audio tours telling about the work. The Van Abbemuseum Eindhoven is an international forerunner and declarant. In their “Multi sensory museum” they actively think about accessibility for various visitors. They do this, among other things, by making their space fit for wheelchair use, translating art into smell, using musicians in the hall, giving tours for the deaf and the use of a deaf choir.
Creative Industries Fund NL