The studio of... Adelheid De Witte

What does the ideal artist studio look like? How much time does an artist spend in his studio? Is it a sacred place? This week in the series ‘The Studio of’ it’s Adelheid De Witte, whose work is currently included in Stealing Thunder, a group exhibition at Barbé-Urbain in Ghent.

Do you go to your studio every day?

Not every day, but as much as possible. Drawing, painting or assembling is not so easy to control. It must present itself.

What time do you leave for your studio, and how: on foot, by bicycle, public transport or car?

Early in the morning I cycle to my studio along the old docks and the port of Ghent through all kinds of weather. I grew up in a construction company on the canal, and as a child I was already working with my grandfather in the crane that unloaded ships. The rough character of that industrial environment near the water continues to appeal to me.

Do you hold on to certain rituals in your studio? Do you put on music or do you prefer to work in silence?

Unless I'm washing brushes, clearing my studio or preparing canvases, the radio is rarely on. I usually switch my phone to 'do not disturb' mode. There is no internet connection. The smell of molten wax and epoxy resin penetrates through the open windows, combined with traditional sounds: hammering, chiselling, pouring, sanding. And Rena, the dog of Berlinde De Bruyckere and Peter Buggenhout, barks all the time. All this creates a constant buzz, which I like, by the way.

How important is light to you?

Very important. That is also the reason why I paint during the day and not at night. On a drizzly day a painting can look almost uniformly matte and dark, while in bright light a whole gamut of underlying colours shines through.

What does your work process look like? Do you work everywhere and all the time or does work only commence the moment you enter your studio?

Always and everywhere. I also consciously look for specific places outside my studio. Fairs, amusement parks or mini golf courses, for example, because the kitschy, artificial atmosphere of those places continues to attract me. I seek out these places because I find them visually interesting, but that fascination also translates effectively into on-site activities, much to the delight of my eight-year-old daughter, who enjoys accompanying me.

How much time do you spend on average per day in your studio?

Sometimes I leave after three hours. Other times I work for twelve hours straight. On average I stay there for eight hours.

Is it a sacred place?

According to the dictionary, the word sacred means: pure, perfect, incorruptible and exalted. My studio is none of this. For me it is the place par excellence where the imperfect can be explored. Oliver, from the Barbé-Urbain gallery, approaches this quest very respectfully, does not make any statements about unfinished works and does not ask in which direction my next paintings will evolve.

Do you receive visitors there, collectors, curators, fellow artists?

I don't meet many people in my studio, but collectors, curators, fellow artists, family and friends are welcome during the calmer spells.

What is the most beautiful studio you have ever seen?

Joan Miró’s studio in Mallorca is the first thing that comes to mind. Much closer by, Berlinde de Bruyckere's studio is a beautiful, serene place. I am lucky enough to have my studio above hers.

What does the ideal studio look like?

Like mine now, but triple the size. Some extra space for a daybed – to take a nap in the afternoon – also seems nice to me.