Visual artist Larissa Esvelt embraces freedom

Larissa enjoys creating large sculptures and installations, using a variety of materials from chicken wire to moving blankets. Since the final year of her studies, she has also developed a strong passion for ceramics. "My tutor, Gijs Assmann, initiated a project where we, as students, were challenged to replicate the famous 19th-century Meissen Monkey in clay. At first, I thought I could never do it. But the end result looked quite like a monkey”, Larissa laughs. "That's when I discovered how much I enjoy working with ceramics, often combined with textiles."

Work for public spaces

Larissa, who shares a studio with three others in Arnhem, quickly became involved in a project for Plaatsmaken in Arnhem Schuytgraaf shortly after graduating (through Gijs Assmann). "It started with submitting a sketch idea, a sketch, a concept, and numerous site visits. After the initial selection, I was able to create and present a sketch design to a jury. When that was well received, the actual work began, including making prototypes," Larissa explains.

Soon, her work—a ceramic water nymph—will be installed in Arnhem Zuid as part of an art route. Reflecting on this project, Larissa says, "I was really happy with this opportunity. It was great to start working so soon after graduating and to have an income. With that money, I could create new work and exhibit again."

A glimpse into Larissa’s exhibitions

Larissa’s first major exhibition was in Almelo, where she showcased her graduation work at Kunsthal hof88, she recalls. Shortly after, she participated in a group exhibition in Tilburg, My Mother’s Daughter, and exhibited in Zaandam and Arnhem. "Subsequently, I had the chance to exhibit work at Cokkie Snoei Gallery in Rotterdam, alongside others. I was invited by a guest curator who discovered me on Instagram, quite remarkable." Additionally, group exhibitions at Kunsthal45 in Den Helder and ACEC in Apeldoorn were on the agenda, along with an exhibition at Kunst-Torentje in Almelo. "I also did a duo residency, collaborating with another artist, at Omstand."

Larissa is also part of the art collective Allard. "We create together, on a low budget and very low-key, various works. For example, pieces for Museum De Bastei in Nijmegen, which were displayed during the release of the band Misprint's new single."

Passion for large-scale work

During her studies, Larissa learned how to motivate and sustain herself in her work. "I also learned to trust myself in the process. Usually, I create something first and then think about where it can be exhibited." Many of Larissa’s artworks are large-scale. "They can't be placed everywhere and aren't easily sold to individuals." She gives an example. "Recently, I was an artist-in-residence at the European Ceramic Work Centre in Oisterwijk. It was an incredibly rewarding experience. I created a female figure there partly melting into a large rock and partly escaping from it. It's a substantial piece; it weighs about 200 kilos."

Backstage at the KunstRAI Academy

This work is challenging to move and therefore can't be exhibited everywhere, Larissa explains. "But it was suitable for the Backstage Academy at the KunstRAI, where several ArtEZ alumni recently showcased their work. It was very enjoyable. Conversations at fairs often revolve around the financial aspect of practicing art; people come to buy art. However, you also meet many colleagues at the fair with whom you can have meaningful exchanges. It's very inspiring."

Engaging with the canon

Larissa's art often explores identity and discomfort. "My work frequently portrays figures in unsettling situations, which nonetheless have connections to familiar visual language. For example, my graduation piece depicted four bathing women, a classic motif from art history. That visual language is appealing. At the same time, I challenge the portrayal of women as sitting, hanging, lying down, passive. I do this by comically emphasizing these positions and not depicting them as 'natural,' but rather as absurd. Sometimes in a way that's almost subversive." Larissa has even heard people describe her work as eerie. "That's fine because I always hope my art provokes and stirs something in others." Driven by her desire to further explore how contemporary artists can engage with the legacy of past generations, Larissa is currently pursuing a Master of Fine Arts in Artistic Research at the Royal Academy of Art in The Hague. "My love for artistic research was nurtured at ArtEZ, where we already devoted much attention to it."

Establishing her practice

A few years after graduating, Larissa can say she has found her rhythm as a visual artist. "When I started my studies at 18, I had a very romanticized view of being an artist: I imagined myself working in my studio all day long. But having your own practice involves much more. You also have to network with others, manage logistics around moving your works, fill out tax forms, pay bills. To generate sufficient income, I also had a part-time job at a museum for a while. Still, it's wonderful to work freely in my studio. I wouldn't trade that for anything."

More about Larissa's course BEAR Fine Art

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