Objects of Love</span></p>Ruth van Beek

Objects of Love

Ruth van Beek


Soft, rounded shapes. Pastel, citrus and vibrant colours. Colourful backgrounds. Brush marks and cut-outs reveal, here and there, a handwork process. At first glance, the photographic element seems lost, and leaves the viewer with unpredictable morphological variations, spatial patterns on the verge of abstraction. Then, as the page unfolds, a plate, ankle socks, a piece of tablecloth give a glimpse of a childhood-scented household.

Upon closer inspection, we come to realise: Ruth Van Beek’s joyous and colourful displays clog up magazine prints, thus preventing the identification of the originally advertised object. The industrial four-colour printing emerges, drop shadows still show in places, but the contours of the manufactured items escape our attention. And yet, the point here remains that we need not mourn an aura that is forever lost. It is rather a question of excess, of added forms and tones carrying a spiritual power.

The artist definitely prefers playfulness to melancholy. It is a game of shapes and counter-shapes, of openness and closure, of hide-and-seek too. This work, like those before it, draws on the notion of family home and its potential load of comfort and surprises. The re-appropriation of the printed matter does not serve a critical purpose on domesticity, but gives way to a quiet nostalgia. This visual overload allows the dream of the original form. It revives a longing that is radically detached from the desires of consumer society. The product disappears and is replaced by an enigma.
The whole series works almost like a riddle. Each image may successively ask the viewer: “my first...”, “my second...”, “my whole...”. And while recalling Ruth’s biography doesn’t necessarily answer these, it is worth recalling how the loss of her mother at a young age has coloured her artistic explorations to this day. Recovering these everyday objects would therefore be akin to playing symbolically with absence. By denoting incompleteness, this ritual seeks to restore the totality formed together with the mother just after birth. In essence, painting, collage and colour could be a playful exercise in conjuration. The conjuring of another object: the primary object of love.
  1. Read more: Blue Is My Favourite Colour</span></p>Alessandro F. Capria
    Blue Is My Favourite Colour</span></p>Alessandro F. Capria

    Blue Is My Favourite Colour

    Alessandro F. Capria

    It’s been a decade since Alessandro Furchino Capria became a photographer, and 2023 signifies the beginning of a new chapter following his recent move from Milan to London.

    Read more
  2. Read more: Metamorphoses</span></p>Zahra Tavassoli Zea
    Metamorphoses</span></p>Zahra Tavassoli Zea


    Zahra Tavassoli Zea

    In 1947, André Malraux conceptualised his own “imaginary” museum, where artworks acquire a new life through a confrontation game with other art objects from different cultures and eras.

    Read more
  3. Read more: Hermès Prize Villa Noailles</span></p>Ilaria Orsini
    Hermès Prize Villa Noailles</span></p>Ilaria Orsini

    Hermès Prize Villa Noailles

    Ilaria Orsini

    On the occasion of the Villa Noailles' Centenary, Tide magazine was given carte blanche over the 38th Edition of the International Festival of Hyères, which took place in October 2023.

    Read more
  4. Read more: Around Stockholm</span></p>Anders Edström
    Around Stockholm</span></p>Anders Edström

    Around Stockholm

    Anders Edström

    “I don’t know how to treat Intimacy and Universality in any other way than looking at pictures I’ve taken recently. It’s the world I’m looking at. It doesn’t mean anything. I don’t know why I take them. It’s just what I do.”
    Read more