Imperfection is a gift: Renate Vos's Unique Decor Art

Your work is known for the experimental use of materials. Can you describe your process for selecting and experimenting with new materials, particularly in your GEM and LOEV collections?

LOEV originated from a material experiment with recycled cork and rubber. It now consists of a combination of silicone, natural pigment and recycled cork. I started with experiments to find a new material. That’s what I do: research, experiment, exploring materials and I often work based on feeling. I weave various materials together to bring new objects to life. I created a few material samples, combining cork and silicone and finally pigments. I was already familiar with the material silicone through my previous CONCRETE collection, and I had collected the cork granules that remained after turning cork parts for my MULTIPLE candlesticks. The appearance of these samples had a clear link to my surroundings.

I started developing the experiments further, and I made some casts in different vase shapes. Shapes which reminded me of the vases from the excavations or past times. The imperfections of the mold caused some ‘ripped’ edges on the vases. I was going to remove these imperfections, but these smoother vase shapes did not appeal to me. I felt that the material fit much better in an imperfect shape; because it had such a link with the past and my living environment. The imperfection was a gift; it provided an exciting element to the vase. So actually it was a coincidence that I consciously used it since then.

I am always discovering and experimenting. Researching materials and techniques is so inspiring. It's a bit like cooking; If you can create a tasty and surprising whole through the right combination of different ingredients, it gives you so much satisfaction.

The GEM collection features eco-friendly concrete combined with cast silicone and LED elements. What specific techniques do you use to integrate these materials harmoniously, and what challenges have you faced in this process?

I already had experience with the combination of concrete and silicone through my CONCRETE lamps, which I developed years ago. The 2 materials together were a beautiful contrast, but merging them was a challenge. After a lot of experimenting, I managed to merge the layers without any additions.

With this new series, the GEM (the collectibles), however, I had a new challenge. Namely to integrate the light into the whole, instead of placing a light source behind it. The LED is now incorporated into the object. But in the end, I made the objects in such a way that the LED can be replaced if necessary.

The LOEV vase involves hand-casting silicone with pigments and recycled cork. What are the key considerations and techniques in achieving the balance between the flexible, soft nature of silicone and the structural integrity of the vase?

As you know, I like to experiment. I like playing with that balance. This creates all unique pieces. But by adding more or less structure you can also influence the degree of transparency, for example. This in turn was the reason to also create a lamp series with this material combination.

Living within the fortress of Loevestein Castle provides a unique source of inspiration. Can you share specific instances where the castle and its surroundings have directly influenced the design or material choices in your work?

The nature around Loevestein (a nature reserve where wild horses and cattle also roam) as well as the history of Loevestein fascinated me since we moved there. My inspiration comes from travels through time and nature and is inextricably linked to my surroundings.

Like the LOEV vases collection, it breathes transience; the memory of past times caught in a contemporary object. Shapes which reminded me of the vases from the excavations or past times. The imperfections of the mold caused some ‘ripped’ edges on the vases. I was going to remove these imperfections, but these smoother vase shapes did not appeal to me. I felt that the material fit much better in an imperfect shape because the capriciousness had such a link with the past and my living environment.

As for GEM (the collectables): The Loevestein Castle is situated between two rivers: the Maas and the Waal. GEM is inspired by quartzite and sandstones I found along these rivers and is infused with my signature: playing with different materials in inventive or unconventional ways.

The GEM collection is inspired by quartzite and sandstones found along the Maas and Waal rivers. How do you incorporate the textures and qualities of these stones into the concrete and silicone materials used in the collection?

In a quest for stillness and serenity, for this collection, I intertwined contrasting materials into a harmonious unity, within a tension field of cold and hard versus warm and soft. The series blends the coolness and solidity of stone with a sense of comfort; the stone serves as a carrier of warmth, softness, and light. In doing so, the sleek, minimalist metal frames gracefully showcase the objects, drawing inspiration from the framing of a gemstone. Because I think these found stones are at least as beautiful as true gemstones.

The LOEV vase features untrimmed imperfections from the mold. What is the significance of these imperfections in your design, and how do they contribute to the overall aesthetic and tactile experience of the piece?

The untrimmed imperfections of the mold provide an exciting element to the vase. People are misled and surprised about the actual material. The vase looks hard and cold, but it appears to be very flexible, warm, and soft. It surprises you with its tactility and invites to touch.

FRAME was created in collaboration with Het Lichtlab. Can you discuss the importance of local collaborations in your work, and how these partnerships influence the design and production process?

I enjoy working together, so it's nice when the other party is close by. You can drop by to see how things are going or to spar with the producer. And it's easier to try things out. I like being able to see and feel things live, instead of observing them digitally. And you learn a lot from the opportunity to experience the process at any time.

Are there any new materials or techniques you are currently exploring or excited to work with in future projects? How do you stay updated with advancements in material science and design technology?

Absolutely! I'm currently working on an exciting commissioned project to develop a lamp using an innovative recycled material made from PET bottles. To stay updated with advancements in material science and design technology, I regularly attend material fairs, and design events, and keep informed through various online platforms.