Handiedan Interview by Ryan Milner
December 13th, 2010 § Leave a Comment
‘Thanks Ryan, for putting together these nice, but also funny questions!’
Check out the results here:
- So I have to ask, how did you come by the name Handiedan? Does it has anything to do with your Dutch heritage?
It’s based on a little rhyme with my first name in Dutch. When I write emails or text messages I often end my messages with these kind of rhyme words and combinations. ‘Cheers van han dan’, (Cheers from Han than), ‘xx van han die dan!’ and ‘Han says hi!’
Han = my name, the short version of my first name.
die = that
dan = than
In English I know it’s a little confusing. People often think I am a guy, because they read ‘Handy Dan’ or something, but in Dutch it is actually a funny little rhyme. A little help in pronouncing my name: During my visit in Long Beach I found out that you can pronounce my first name just like the Jewish Holiday ‘Hanukkah’. Or you can say ‘Heineken’ but than with an ‘Hah’ in the beginning. What cool things you can do with a typical Dutch name, right? 
- Your work is amazing! How and when did you first start collaging?
Thanks! – A couple of years ago I decided to move to Amsterdam. However, because it is hard to find a decent place to live, I decided to rent a friend’s apartment for a few months. Its was spending time in a new city that gave me a sense of quietness and some distance from my friends and family. Definitely a good time for a new concentrated period of reflection and study with my work. This ended up being the big fusion with my different experiences and techniques, my recent pin-up mixed media work.
- What kinds of tools & materials do you use to fashion your collages? 2 words: “YES” paste?
I experimented before with different glues, but now I stick with a nice pretty expensive acid free acrylic binder and a matte acrylic transparent varnish with UV-filter. I really love it how the structure of the thin skin varnish works over the papers!
- I love the way you compose your pieces, especially the way your figures blend in and out of their backgrounds, making the whole piece come alive. Was this aesthetic planned out, or discovered by happy accident?
I think it’s a combination of both. I play around with the different ornaments and it almost feels like things are happening by ‘happy accident’ through deep concentration and the right flow. I’d also say, because of such deep concentration and sense of aesthetic feelings for balance, a good image vibration and interaction between the elements surfaces from the unconscious to conscious mind. Still getting my point? 
- You must tear up tons of books, magazines and other materials to find those great images, how much time do you spend looking for your material?
I have a little “old-material-radar-light” on my head that goes off when I’m coming close to something interesting. Even if I’m not specifically looking for it, I’m always keeping my eyes peeled, sort of an automatic reflex. I love making the discoveries—it gives me so much pleasure!
- Do you have a favorite place you look for your collage materials, imagery, etc?
My favorite places are the markets in Amsterdam. The Northern Market, the Albert Cuyp and the market on the Waterloo Square. But holidays in Belgium, France and small towns in other countries are the best and very inspirational, because you can find stuff you can’t find in your own country! And of course, being the computer squared eye’d person I am: Surfing the internet for antique treasure is the best!
- Is that whole mayonnaise on fries thing really true?
Yep, mayonnaise all over the place and we LOVE it! You get mayonnaise with your fries standard. You’ll have to order ketchup extra if you prefer it.
- What attracted you to combine iconic pin-up figures with ornate design elements from stamps and currency?
Two big fascinations fusing in one image. Need I say more?
- Not only do you include such strikingly beautiful figures in your collages, but you also pepper in some of your own drawings throughout the work. At times, it acts as almost a satirical element contrasting the subject matter (i.e mustache on pin-up), is this meant to poke fun at the glamorized imagery, or act as a supportive element within the work?
I like it to play little tricks within my work. Dare to scratch over a new piece and adding my own little characters with small comments. This shows the working process and gives the piece balance–Playing with perfection and imperfection, seriousness and humor. I’m always trying to look at elements with an eclectic point of view, a big eye blink and poking fun!
- Your past and current shows with Phone Booth reinvent the traditional pin-up in such interesting ways, could it be said that your creations act as a social commentary on the modern day perspective of sexuality and feminism?
Not specific. I like it that my work communicates with all different kind of people; young, old, different cultures and sexes and that all these people are able to see their own story in it. I don’t add any specific perspectives to my work on purpose. Of course there are little personal stories and comments added to each piece, but for me it is not important for people to know these stories when they view my work.
- What’s your process of envisioning a piece, especially how you choose to compose your characters?
Mostly, I have a blurry idea of the pose and how many characters will join the piece. Then it’s just a matter of playing around with the elements, replaying and recomposing until the moment my mind says ‘Stop! This is the composition and the vibration you are looking for.’
- Is there a preferred scale, material, or method of working that you choose?
There is no preferred scale and material. I like it to experiment and be surprised with all different sizes and materials, constantly reviewing and curiously investigating the possibilities of the image. One specific design can end up as a tiny piece of art on paper, as a middle sized piece on old metal, or as a significantly larger piece on wood, or collage on paper. I find it interesting how the same design works on different sizes and carriers, because the structure and atmosphere of the image changes every time.
- Have you ever done any wheat pasting?
Not yet, but there are some exciting plans that hopefully will come true for the upcoming year!
- Do you have any weird tendencies, or habits while you create your art?
Not sure if this is weird, but I always work on the ground — except while working on the computer of course — with loud music.
- I’ve noticed that you have begun to incorporate some male pin-ups in your current body of work, what other couplings, or subject matter can we expect to see in the future?
Creating black and white work was something I had in mind for quite a time. This resulted in the two works called ‘Thats a Damn Fine Coat Your Wearing’ and ‘Valkyries’ for my recent ‘Habba Habba’ show at Phone Booth Gallery.
This moment I’m very excited to add some more b&w works! A few that I’ll mention are a number ‘Three’ male piece, a playing card piece and an Asian themed piece. They’ve been running around in my mind for some time, so there’s a big chance they will show up somewhere in new year.
Interview by Ryan Milner for Phone Booth Gallery
