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LIEKE VAN DER LEEST’s jewerly collection book comparing with a korean jewerly magazine

Sunday, November 26, 2017

First of all, I thought the designer of the book is Jorunn Veiteberg but he is a author of the book. In the last page, there’s a list of people who assisted to make this book. I sent Van der lesst an eamil

to let me know the designer. she taught me two graphic designers named Simone Hooymans and Hilde-Marie Larsen Klyve are the designers. . Simone makes drawings and films of animals and astronauts that are so beautiful and imaginative, but also a bit gloomy. Ho cooperates with Mari Kvien Brunvoll and creates animations for the music of Mari. Hans Pulles is an artist and designer. He creates beautiful and beautiful sculptures in public spaces.

‘I realise more and more, that every scene I make in an animation is a painting by itself.’
Simone Hooymans

There were two graphic designers involved who are FELIEKE VAN DER LESST’s(artist in the book) friends and live nearby.

She said that one of them (Hilde-Marie Larsen Klyve) does now other work and the other (Simone Hooymans) still does graphic design work (to earn a living) but that is beside her art work. She makes beautiful drawings and stunishing animations (using those drawings)

her website:


Hooymans often paints a mixture of animal and human being. Her interest is to examine how “human” animals are, and how “beastly” human beings are. By adding unnatural elements to the animals, she plays with the human influences and views on the world’s fauna. Hooymans is in a quest to explore how we relate to this, through different emotional states, such as harmony and fear.

Within her animations she makes a completely distinctive, adventurous universe; a mythological world that is timeless, mysterious and dreamy and with an ominous undertone. She twisted fairy tale universe is mostly without a clear narrative. The viewer has to draw their own conclusions. The works are autonomous visual art pieces, with the freedom and ability to exist in installation forms.
An underlaying theme in my animation work is the retracting of nature and questioning fast urbanization and technology. I am exploring how we relate to this, through different emotional states, such as harmony and fear.

My work took part in many international group exhibitions and filmfestivals, One of my animations reveived recently the Honorable Mention Award at Grimstad Kortfilmfestivalen in Norway. My animations and drawings are in collections in the Netherlands, the UK and in Norway.



I love colorful, small jeweries, and animals.

Actually, that were the reason why I chose the book named ‘the zoo of life’. There were a lot of books and magazines in rietveld’s library and I tried to find a colorful book.

Felieke van der Leest: The Zoo of Life: Jewellery & Objects 1996 2014’ at the first glance, its cover looked like an magazine. there was a big image and big letters placed on the cover. In my country, making cover eye-catching that leads people to read a book. that was what I felt about it. 


the jewerly magazine generally placed the jewerly and its explanation on same page that gives it one- stop view. It’s more based on the convenience of getting information about jewerly.

Inside of it, there were a lot of coloful images. The layout between the images is neat and orderly. Each text and images is separated so it makes the page also looks like a kind of artwork, not just a page of a book

Images seemed that designer considered how the image looks good. In some pages, she used two pages to watch the details of small jewelery. It is collection of her work, but I felt like watching a jewerly collection magazine.Some images’ backgrounds  were colored, so collaboration of colors makes jewelery look better and a soft, warm feeling rather than a hard feeling.





There are some no-framed images, so I felt more that the images decorate the pages rather than the hard feeling of ‘placing images in books’


And I researched information about a designer of the book. Her name is Jorunn Veiteberg. She is an independent writer and curator based in Copenhagen, Denmark. She edited an published many books about jewelry.

Jorunn Veiteberg, born in Norway in 1955 but now living in Denmark, is internationally acknowledged in the area of arts and crafts theory.

Veiteberg has a PhD in art history from the University of Bergen, Norway, 1982 and a Dr.Philos degree from 2000. She has been head of exhibitions at Hordaland Art Centre in Bergen and Galleri F15 in Moss and head of arts in Norwegian Broadcasting/Television. She was editor-in-chief of the Norwegian arts and craft magazine Kunsthandverk1998–2007, and adjunct professor in Creative Curating at Bergen Academy of Art and Design 2007–2014. She was guest professor at School of Design and Crafts at Gothenburg University, Sweden 2013-2016. She is appointed a member of the Norwegian Art Council for the years 2016–2019. Veiteberg has written or edited 24 books and contributed to around 200 international anthologies, journals or catalogues.

Not the least, her book “Frå tause ting till talande objekt” (From silent things to speaking objects) has had a significant impact in this area. In this book she summarizes and describes the evolution and present state of the arts and crafts field. Veiteberg also has unique experiences in how research in this field can take concrete expressions, and how the forms for artistic research in the arts and crafts can be formulated.Through a three year stipend from the foundation she is now a visiting professor at the School of Design and Crafts at Gothenburg University for three years starting 2012.


She has been awarded with Torsten and Wanja Söderberg Prize 1999, Norsk Forms Hederspris 2010, Norske Kunsthåndverkeres Ærespris 2013 and Årets nynorskbrukar 2015.Veiteberg also has unique experiences in how research in this field can take concrete expressions, and how the forms for artistic research in the arts and crafts can be formulated.

Here’s her saying about making a book and its values.

‘Photos can be very seductive and misleading. It is difficult to understand size, weight, etc. I’m afraid of making bad choices based on misreading photos. I have not defined any criteria in advance. But I have been asked to go for “high quality.” I will try to be as open minded as possible. But, perhaps I have a wider understanding of what quality can be than usual? For me, quality can also be about content, not only craftsmanship.’
You have a particular interest in how makers articulate their relationship to culture and history. Meanwhile, application forms leave very little room for contextualization of the work. When you review the applications, you will be looking at images, titles, and a simple list of materials and processes. How do you feel about this?
I don’t belong to the school that thinks artwork speaks for itself. Knowing so little about the work is what makes this exercise so challenging and the risk of making failures so big. I might have an experienced eye, but I don’t consider myself a connoisseur. So, I would have expected an artist statement to follow the piece, but you mean there is no room for that?
I felt that she has firm value of work and choosing her words carefully.
The Zoo of Life, jewelry artist/designer: Felieke van der Leest, Rietveld Library Cat. no: 777.6 lee 2

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