Interview with Ted Noten

Interview  /  Artists
Published: 03.01.2007
Ted,Notenretrato Ted,Noten

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(...) I like to work with daily “icons” so local becomes universal and universal becomes local. (...)
In order to make your works you use elements with a value socially and culturally recognized, and you deconstruct them and put them out of context.
Which is the process of creation of your works?

In staccato:
Things come up in my mind
due to visual input, due to mostly daily meetings with people
the things which come up when I had to much booze or not enough silent moments
I neglect
mostly they visualize in my head
I hardly have to make drawings
what I do is that I write down one liners
Then I start intellectualising them
and researching
if it is not done yet
I try to be original
very hard these days after so much has already been done
then after I collected the material
the best moment starts
the making
there the intuition takes over
my hands
the tools
the machines bring their input
then the tricky mind stops for a while
after the making it will start again
devilling my end result

Looking at the pieces in which you use acrylic, on the one hand you show what it is not seen normally (explanation/transparency): the interior of a purse, a suitcase... and on the other hand you catch objects and you turn them icons (symbol).
What there is of fetishism and what of conceptualism in your work?

Of course I am a fetishist.
I have a great love for small items, people’s behaviour, specially when they are obsessive and surrounded with a great passion and love but I am not a pervert.
The conceptual part could be my neurotic sight-trying to control /landmark the world around me, get grip on it. Beside that I love to fool around with thoughts,
maybe it is an addiction.

Jewellery and objects: what differences do you find when it comes down to work each one of them? The connection is: jewellery and objects, jewellery or objects or perhaps jewellery versus objects?
I find this question boring and that’s why I would like to leave this discussion to art critics and other pragmatics who try to control things by analysing/framing and trying to label it.
For me the discussion is not about this.
A piece: if coming from a conceptual side has to be connected with the context.
If it is jewellery it should be related to that but if it is on the end an object/a decorative most wearable beautiful necklace or a picture that’s not the discussion

What is there of local and universal in your artistic work?
The mercedes benz.
The chewing gum broche.
Two exemplary examples to your question.
I like to work with daily “icons” so local becomes universal and universal becomes local.

What has been the most complex?
To learn not to defend my work on wrongly based questions.
(note: I am not pointing at your questions, they are the contrary)

The last work, book, film, that has moved me was...
Margret Mazantini-------------Don’t leave me

Motorcycle Diaries
Broken flowers
Mar adentro

what moved me:
a beautiful piece made by a student at the workshop we did last summer at ARCO in Lisbon entitled “Time Released”. Her work was called “the DNA pearl chain”.
There was one mother whose pearl chain got inherited by her two daughters, so she divided them into two small chains. After that generation the two small chains got divided again, after that a piece came back due to the fact that one of her had no daughters etc.etc. an endless story with unexpected jewellery. Beautiful concept-everything that could be transformed as/into jewellery was in it.

A place, space, country whose creativity surprises me...
A project from a photographer who walked through the inlands from New Guinee. He noticed that the people were wearing western T-shirts with symbols from Nike, Puma etc. on it. But the shirts were all ripped. First he thought it was due to poverty, but the people wearing them did it deliberately, they made patterns in it, exactly due to their former traditions- scarving patterns with a knife in their skin.

The artist is called Roy Villevoy

The green Cathedral from a Dutch artist Marinus Boezem

It is necessary to give a definition of What is art jewellery or simply create and anything else?
There is one problem:
we, as jewellery makers don’t have to define it, it is the constant demand from other disciplines that make us doing this on the moment we stop defending our self they will pick us up.

"Stjamescrossrevisited 2005", (see www.
"Everyday-ring", 2004
"We are already fossilized" (concrete), 2003


If you have enjoyed this interview you might be interested on reading the following:

Interview to Kadri Mälk
Interview to Peter Skubic
Interview to Florian Ladstätter
Interview to Tore Svensson

© By the author. Read Copyright.

© By the author. Read Copyright.

© By the author. Read Copyright.