Text taken from the MESSMERIZING website:

MESSMERIZING is a contemporary exhibition, blurring boundaries between design & experience art by objects that create curiosity

MESSMERIZING is minidistrict to wonder about while sparking joy

MESSMERIZING is a project by Sandra Keja Planken & Job Keja

MESSMERIZING started in 2022 as a pop up and continues in 2023 as a new design experience

MESSMERIZING operates as a nomadic gallery for the long run

About the concept: Curiosity sets things in motion. The whole reason we can look forward, create, invent & do is set on a base of childlike curiosity "the art of looking". With this concept show the importance of curiosity in all we do, design and create. Then, now and for the future to come. We give the visitors an invitation to go back to their own curiosity. What is created and why? What materials are used and why? What is the story behind it? And let visitors wonder around free to create their own interpretation. Let it spark joy, curiosity and mesmerize while thinking of then and the future.

About the participants: with crossovers between design, art, graphic, 3D and fashion we go to show past, present and future can intertwine in stage of Autotaalglas and Keim paint.

Curiosity

With 1250 m2 we are setting up a different experience than last year. Showing a top floor with enlarged scaled objects between a curated scenography. And a 1st floor with combined sets. For visitors to travel from large scaled installations to functional usable objects.

Participants:

Lucas Zito, Stijn van Aardenne, Pepe Valenti, Anna Resei, Mean Collection, Sofie Aaldering, Gina Grünwald, Douwe Halbertsma, Rutger de Regt, Sandra Keja Planken, Hanne Arends, Victor de Bie, Kasper Boelens, Sjoerd Geerts, Sina Dyks, Celia Hadeler, Marijke de Cock, Elizabeth Lewis, Anna Kunst, AtKris, Mariekke Jansen, Ori_Orisun, Urban Reef, 3DD, Lambert Kamps, Pepijn Fabius Clovis, Dirk van Duivenbode, Teun Zwets, Orange or Red, Sarah Roseman, Barry Llewellyn, Halle Design, Nicky Vollebregt, Manon Stoeltie, Zoran Strijbosch, Arno Hoogland, Wisse Trooster, Studio BL, Sanne Kaal, Olivier van der Mark, Erna de Bie, Karel Bodegom, The Millenhouse, Moon Kuijper, Splitter Splatter, Clara Schweers, Sjang Niederwieser, Jiin Yoon, Sophie Mensen, Shay Alfia, Tomer Netanel, Erik van Schaften, Mungbone, Bold & Schaft, Lorena Rode, Rik ten Velden, Thibeau, Bestwelhip, Charlene Dannancier en Tiddo.

Digital collages (or paintings if you will) made of hi-res photos, photoshop layers, screenshots, found images/illustrations and then morphed, liquefied, copied/pasted for about a year (these three versions).

“Dynamic Hieroglyphic of The Collaps and The Expanse” (this version)
2023 - open ended

size: 76.59MB
dimensions: 7559x9449px
resolution: 300dpi
bit depth: 8

“Zugzwang” (this version)
2023- open ended

size: 80.54MB
dimensions: 6698x8373px
resolution: 300dpi
bit depth: 8

“The Empire Line” (this version)
2023 - open ended

size: 42.92MB
dimensions: 5599x6999px
resolution: 300dpi
bit depth: 8

PINKDOM by Knit Pigment

Knit Pigment curates spaces that immerse people in a vibrant, multi-sensory experience, showing the rich tapestry of hues that exist around us. They aim to show equality through colors with artists. Run by Ae Office and Sangmin Oh.

Their first edition, PINKDOM, focuses on telling the stories of pink through artists: Sho Ota, Pyeori Jung, and Sangmin Oh. The final collage work is created by Pim Top.

Sho works with wood, Pyeori specializes in aluminum, and Sangmin focuses on textiles. Their shared passion for color expression stems from their hidden love for pink. They transform their favorite materials, blending them with the color pink, to create what they’ve envisioned as the pink kingdom. The term ‚PINKDOM‘ itself invites various interpretations, displaying their playful wordplay.

A series of images for ELLE Decoration

Styling & curator: Monique van der Reijden
Assistant: Kasper Boelens

first image:
Chair and pot by Marc Antonio for Scarlet Splendour
Wall piece by Jorge Manes Rubio via Rademakers gallery

second image:
Ceramic artwork by Kartini Thomas via Mia Karlova gallery
Benchy by SupertoysSupertoys
Glass vase by Sandra Keja Planken
Background texture from object by Emma Knaken

third image:
Lamps by Sangmin Oh studio via Rademakers gallery
Rug by Constance Ziegler
Squid guy by Izzy Goedvolk

forth image:
Wooden chairs by Pulpo Products
Sculpture Izzy Goedvolk
Suede chair Marc Antonio for Scarlet Splendour
Ron Ron XL by Marion Baruch for Gufram

fifth image:
Cupboard by Rem Atelier
Wall sculpture by Marijke de Cock
Sculpture by Obbe van der Weide

sixth image:
Stool by Laurids Gallée
Ceramic artwork by Kartini Thomas via Mia Karlova gallery

seventh image:
Gold wall piece by Roosje van Donselaar
Wooden sculpture with leather hairs by Jonas Lutz
Wooden sculpture Kasper Boelens

EXBERRY® is the leading brand of Colouring Foods for the food and beverage industry. Colouring Foods are made from fruits, vegetables, and edible plants using a physical manufacturing process processed with water.

Founded over 40 years ago on the principle of colouring food with food, EXBERRY® has established itself as the leading brand of natural colours for the food and beverage industry.

Client: Exberry
Concept: FranklinTill (Marta Giralt)
Stying: IOIA (Titia Dane)

Oasis reclaims the archetypical water cooler bottle, in an attempt to reflect the transformative qualities of water. Reinterpreting the very technique with which the original bottle is produced, Moreno Schweikle transforms them into sculptural vases.

Filled with water the bubbly, transparent container creates luminous reflections on nearby surfaces, making the whole space feel hydrated.

Material: Plastic (Polycarbonate)

Collages made of printed photographs provided by the manufacturers and digital manipulations.

The February 2022 Design Awards issue

Collage made of vintage photographs from the ‘90 and 3d renders

W*:
Paolo Rizzatto’s ‘265’ lamp was first produced by Flos in black and white in 1973. Now a new colour version celebrates the Italian architect’s colour-coded original drawings – blue for the arm, red for the lampshade and yellow for the counterweight. Another bold Italian reissue is Aldo Rossi’s ‘Parigi’ armchair, a 1980s design featuring sweeping black metal armrests and a bright red seat, created by the architect for his ideal office. Last but not least is Charlotte Perriand’s curved desk, created for the architect’s own Parisian studio and relaunched by Cassina with a new compartment for cables.  

‘Parigi’ armchair by Aldo Rossi for UniFor
‘Petit Bureau en Forme Libre’ by Charlotte Perriand for Cassina
‘265 Chromatica’ lamp by Paolo Rizzatto for Flos

Series of images for each 2022 issue of ELLE Decoration NL with Monique van der Reijden and ‘s Zomers botanical warehouse

Some images I made together with Titia Dane of Studio IOIA for the feature “Material Ages” in the new issue of Viewpoint Magazine by franklin/till

Words by Kate Goldsworthy of the Centre for Circular Design

Graphic design by Graham Tait

Thanks to Marta Giralt Dunjó

VIEWPOINT COLOUR MAGAZINE “Co-Existence”

Colour forecast AW22/23

PRESSRELEASE
Salon Salon presents an exhibition in two parts by Rotterdam based interior curator Berry Dijkstra and artist Pim Top. A Motley Crew focuses on Berry Dijkstra's love for art and design, and in particular his desire to create ever-changing compositions with the objects and furniture that surround him every day.

Since a couple of years Berry has been posting pictures he took of these compositions on Instagram. What began with carefully arranging and rearranging things in his living room, soon developed into an experiment that allowed more bold gestures. Including generating friction by putting together objects that aren't easily married, as well as shifting their role by flipping and piling them.

Exclusively for his first ever show Berry Dijkstra will work on different installations. He will combine elements of stacked furniture, sculptures and ceramics* which will ultimately transforms into alluring abstract and playful still lifes.

During the second part of the show artist Pim Top will take over and showcase a series of photographs inspired by Berry's installations in his living room which are at the foundation of this project.

* By (among others): Pastoe, Sabine Marcelis, Koen Taselaar, Mae Engelgeer, Willem van Hooff, Floris Wubben

A Motley Crew #01, 2020
56x70cm (22x27,6inch) with passe-partout

A Motley Crew #02, 2020
50x70cm (19,7x27,6inch)

A Motley Crew #03, 2020
50x70cm (19,7x27,6inch) with passe-partout

A Motley Crew #04, 2020
56x70cm (22x27,6inch)

A Motley Crew #05, 2020
56x70cm (22x27,6inch)

Intergral Accident, 2020
Size and price upon request

Please send an email if you interested in acquiring a framed print.

All image are also available in a larger format in an edition of 5 + 2AP
Price and details on request.

The publication ”No Fear of Glass”, with texts by Sabine Marcelis, Anna Puigjaner and Ippolito Pestellini Laparelli, photos by Pim Top and graphic design by Sophia Schullan, is the result of the intervention of the same name that the artist, together with Side Gallery and Fundació Mies van der Rohe, presented in the Mies van der Rohe Pavilion between December 2019 and January 2020.

Sabine Marcelis explored how the design ideals, materiality, and the proportions with which the pavilion has been constructed can be translated into the creation of functional furniture pieces. The title of the exhibition and the publication responds to ”Fear of Glass”, the book about Ludwig Mies van der Rohe and Lilly Reich’s Barcelona Pavilion by Josep Quetglas. Mies van der Rohe was famously asked to not use too much glass in the Pavilion and Marcelis’s works in turn are produced from glass, pushing the materials limits to the extreme.

Series mad together with Monique van der Reijden and ‘s Zomers botanical warehouse

Casted objects by Bram Vanderbeke, 2020

Héroine Restaurant & Bar

PATTERN FIX: FINDING BEAUTY IN THE ACT OF REPAIR

Words: Franklin Till
Photography: Pim Top
Set design & styling: Studio IOIA

From contemporary takes on the Japanese shashiko and kintsugi techniques to unapologetic low-fi dipping, taping and gluing, repair is finding new prestige in the design landscape

New series for another inspirational issue of Viewpoint Magazine about finding beauty in the act of repair. Glued, darned, patched, hacked, dipped, mended, fixed, repaired - not broken. Once an everyday chore and household staple before it was outmoded by the fast, mass consumption of the late 20th century, the practice of repair is witnessing a revival. It is seen as a badge of honour and a personal statement on conscious consumption, as well as an act of beautiful, functional embellishment and a vehicle for narrative. From contemporary takes on the Japanese shashiko and kintsugi techniques to unapologetic low-fi dipping, taping and gluing, repair is finding new prestige in the design landscape.

The 3 framed images are available mounted on dibond in an edition of 15 + 2AP as shown here in 53x68cm (20,9x26,8inch) for €850,- each.

Please send an email if you interested in acquiring a framed print.

Also available in a larger format in an edition of 5 + 2AP. Price and details on request.

more info coming soon :-)

“Autonomous Sensory Meridian Response“, 2020

Collage from macro photo, screenshots, Zoom glitches and found images

org. dimension: 8917 x 11220 px, 300dpi, 8bit, 189.70 MB

"Accelerationism", 2020

Collage from hi res (macro) photography, screenshots, found footage and vhs glitches

org. dimension: 7087 x 8858 px, 300dpi, 8bit, 96.99 MB

"Buffering The Ultra Boring", 2020

Collage from hi res (macro) photography, screenshots, found footage, security feeds and zoom glitches

org. dimension: 7323 x 9154 px, 300dpi, 8bit, 69.29 MB

“New Images Of The Sun”, 2020

Collage from hi res (macro) photography, screenshots, found footage, VHS and zoom glitches

org. dimension: 8156 x 10195 px, 300dpi, 8bit, 147.19 MB

"Your Session Has Timed Out Due To Inactivity", 2020

Collage from hi res (macro) photography, 3d-renders, screenshots, found footage and news feeds

org. dimension: 9288 x 11610 px, 300dpi, 8bit, 133.14MB

2015 - 2018

08PT2016 Tree #01 (Red Palm), 2016 - 2017
155 x 104 cm

09NED2016 Tree #02 (The Well), 2017
155 x 104 cm

01NED2017 Tree #03 (The Grey Tree), 2017
155 x 104 cm

06NY2015 #01 (A Strange Arrangement of Colours), 2015-2016
Lenticular (5 images) 123 x 83 cm

06NY2015 #02 (A Strange Arrangement of Colours), 2015-2016
Lenticular (5 images) 123 x 83 cm

08Giverny2017 #01 (A Strange Arrangement of Colours), 2018
Lenticular (5 images) 125 x 100 cm

08Giverny2017 #02 (A Strange Arrangement of Colours), 2018
Lenticular (5 images) 125 x 100 cm

Nothing…, 2018
75x105 cm, Coloured using audio frequencies & effects