VALUE SYSTEMS
AN ARTISTIC INQUIRY INTO THE VALUE OF ART THROUGH FRAMEWORKS THAT GUIDE, CULTIVATE, AND REGENERATE.
The value of art lies in its ability to move, touch, and transform with us. Its intrinsic worth is the quality of our connection with it. Resonance emerges from a state of being rather than having. Yet the art world still, and to a greater extent, functions from a mindset of having, whether through possession, accumulated knowledge, or collecting experiences.
My practice explores how to nourish and bring forth art while creating the conditions for resonance. How can we invite and encourage patrons, guests, and communities to be with art, cultivate inner wisdom, and bring the art forth in a regenerative way?
This inquiry is the soul of my practice. It is informed by my own encounters with art and hosting patrons and guests, a background in economics, and over a decade of research into value systems. I design frameworks and offer guidance, both self-initiated and commissioned, that amplify the transformative power of art. These frameworks are expressed through artistic forms, allowing the inquiry itself to unfold as art.
PEGGY FUND
“You’re seeing less than half the picture, without the vision of woman artists and artists of colour.”
Guerilla Girls 1989
Our view on art, and consequently the world, has historically been shaped by men. In the Netherlands, art collections focusing on contemporary art still consist of only 10% art by female artists.
In 2023, I was connected with feminist activist and art collector Andrea Davina, and together we launched the Peggy fund in May 2024. Andrea brought the vision; I provided guidance on structure and designed its visual identity. The Peggy Fund was officially launched in May 2024, and our first support was provided in December 2024.
The Fund’s mission is to increase recognition and representation of female artists in Dutch public collections by acquiring one artwork by a female artist for a museum each year. We foster a close-knit group of patrons, currently 20 “Peggy’s”, who gather at intimate Peggy Dinners to discuss and deepen awareness of women’s art. Each year, our commission selects three artworks nominated by museums, and our patrons choose the final acquisition during an art dinner. Our selection focuses on enriching Dutch collections, representing the contemporary female gaze, and, ultimately, the extent to which the work moves us.
The Peggy Fund’s visual identity reflects a bold, contemporary female voice, inspired by feminist artists, most notably the Guerrilla Girls. Its strong typographic style meets a scape of mimosa flowers, the symbol of International Women’s Day, enclosed within an oval form. This oval scape introduces softness and depth, aligning with a gentle counterbalance to the linear yellow identity of the Stichting Niemeijer Fonds.
Currently, I serve as a member of the Peggy Fund commission, embodying the voice of the artist. The other members include a curator, an art collector, and Andrea Davina, representing the perspective of an art activist.
As a commission member, I represent the artist’s voice alongside a curator, collector, and Andrea Davina. Being part of the Peggy Fund has deeply influenced my own research into the value of art and how our environment shapes the way we resonate with art and the world.
Commissioned by
Andrea Davina, Stichting Niemeijer Fonds
SCHUIT
“A ship is the manifestation of a shared dream, a world built from the hands and hearts of those who dare to embark."
SCHUIT was an accelerator for a wide variety of art forms that engage the body. My work naturally gravitated toward designers and artists with a connection to fashion design, as they often shared a unique sensitivity to the body and its relationship to space, exploring how we inhabit and perceive it. From jewellery to performance and installations, my intention was to illuminate the impact of objects on how we move through life. I created a platform for these works through exhibitions and made them available for sale, allowing artistic expressions to become accessible and integrated into daily life.
With SCHUIT, I began collaborating with designers and artists from their graduation collections. I saw these as the foundation of their practice, often reflecting exceptional quality and potential. The pricing structure for each piece was made transparent through a shared drive accessible to all, fostering equality and understanding. My relationships with designers and artists were built upon trust and mutual value rather than formal contracts. Exhibitions and collaborations were initiated based on the directions of artists and designers who inspired me, creating space for their existing and new work. This approach cultivated genuine connections, allowing for a natural fluidity in our creativity and collaborations, while leading to close friendships that continue to influence my practice today.
Collaborations
SCOPES Porsche,
Gallery Marzee,KunstRAI,
Fashion & Design Festival Arnhem & Droog.
Artists
Stephanie Baechler, Buro Belén,
Johannes Offerhaus, Max Zara Sterck,
Diek Pothoven, Joanne Vosloo,
Katharina & Cissel Dubbick, Jim Hu,
Milena Naef, amongst others.
AF ENSEMBLE
“When you encounter moments of schoonheid
you may also become
becoming is transforming
from one state of being to another.
Throughout our lives
we all engage in such transforming experiences
that rewire us.
Once experienced,
there is no turning back.
you are forever changed.”
Ard Huizing
AF Ensemble is an art foundation with the intention to amplify a moment of schoonheid, where inner and outer beauty come into alignment. The foundation awards a moment of schoonheid once every three to five years, as experienced in the fields of visual art, performance, and contemporary dance. Rather than honouring individuals, objects, or ideas, AF Ensemble recognises and celebrates moments. Each awarded moment becomes the starting point for a new collaborative art project with the artist(s), with the intention of carrying that moment into the future.
The foundation was established by Ard Huizing and Frances de Rijck van der Gracht as part of their legacy, before their passing in 2022 and 2023. It emerged from our shared inquiry into the value of art, a mutual appreciation for schoonheid the arts, and the devoted patronage Ard and Frances offered through their involvement with the art foundation Outset, which I led for four years. I now lead AF Ensemble as both director and treasurer, working closely with a board that includes a member of Frances’ family, whose business insight serves as a trusted sounding board.
In 2023, AF Ensemble awarded the philosophy of Hardcore Heritage, embodied in several key works by RAAAF, including Bunker 599, Still Life and Deltawerk. Rather than preserving heritage through conservation, Hardcore Heritage proposes transformation: by breaking open a structure, such as cutting through concrete, the work is redefined, made accessible, and given new relevance. In collaboration with RAAAF, we defined a new project that deepens and amplifies their philosophy of Hardcore Heritage. The project was unveiled in a pre-launch in September 2024 at Het HEM for the close circle of Frances and Ard. The official launch of AF Ensemble is scheduled for 2026.
Symbol design
Thor Schuitemaker Wichstrøm
OUTSET
“Sharing the enjoyment of an object creates one of the deepest forms of joy’”
Erich Fromm, To be or to have
With the art foundation Outset, I designed a framework to encourage meaningful connections with art and with each other — supporting projects that extend beyond domestic spaces and ensuring value for all involved, from artists and curators to institutions, patrons, visitors, and the broader art field. This framework aligned with the objectives of the Art Partners Program.
My intuition for sensing the zeitgeist and recognizing those capable of capturing it allowed me the privilege of working alongside visionary artists, curators, and directors. Their perspectives expanded my view on the current, guiding our support to reflect a contemporary worldview.
As part of this course, we supported projects such as the residency of Nicolas Jaar at Het HEM. What began as a blank slate evolved into three immersive sound and light installations, fully embedded in the space, works that continue to resonate with those who were present. This project was possible by being open, flexible, trusting and involved with the het HEM team as an independent art foundation and allowing art patrons to be part of the becoming of.
In my role as director, we supported 23 projects, and I hosted 32 programs and three international trips, including visits to the Venice Biennale, Istanbul Biennale, Japan, and Manifesta 14 Prishtina.
“Textiles embody warmth, fluidity, strength and a feminine quality holding the capacity to embrace.”
ZELT conceptualises, designs and produces textile spaces, unfolding as pavilions, installations, scenography and experimental forms. The studio emerged in 2022 from various collaborations between myself and Johannes Offerhaus, exploring how textiles can shape and create connections. The way one enters and feels in a space profoundly influences their openness to a connection. Textiles embody warmth, fluidity, strength and a feminine quality, holding the capacity to embrace and transform. Drawing inspiration from the contours and refined finishes of garments, we played with scale relative to the body, crafting spaces that invited guests to engage and connect collectively. Our projects were defined by a continuous exploration of other ways to dress a space, reimagining how textiles can move us and evoke resonance.
Currently, ZELT is led by Johannes, with a focus on large-scale textile projects.
Clients
METRO Restaurant / Philharmony Luxembourg
ZELT
ODE TO THE HOST
“Hosting is not always visible, it is felt”
Berber Meindertsma & Stephanie Schuitemaker
Ode to the Host is both a research project and a proposal for a prize honouring the most inspiring commissioner in the arts, developed in collaboration with Berber Meindertsma. As part of this work, we interviewed 50 individuals across the art field. Our intention was to amplify the significance of hosting as an essential aspect of commissioning, and to strengthen this practice as a vital way to contribute to the value of art.
We hold the belief that resonance brings forth resonance, that the way an artwork is born, nurtured, and brought into being is deeply felt in its final form. The presence and care of the commissioner are often essential, particularly in large-scale public art projects, where their role helps shape the conditions in which the work can emerge.
At its foundation, this research explores the concept of resonance and hosting within the art field. The foundation of our research is rooted in Hartmut Rosa's theory of Resonance. Resonance cannot be designed, one can only create the conditions for it to emerge. We define this act of creating the conditions for resonance as hosting.
Unfortunately, due to a lack of funding during the pandemic, this proposal was put on hold.
In collaboration with
Berber Meinderstama
Guided by
Ard Huizing
“Peace of mind produces right values, right values produce right thoughts. Right thoughts produce right actions and right actions produce work which will be a material reflection for others to see the serenity at the centre of it all. A material reflection of a spiritual reality.”
ZEN and the art of motorcycle maintenance
Our home became a canvas for experimenting with ways of living and creating a resonant space - a space where art becomes embedded within our daily life or more so becomes an art in itself. Collaborating with and commissioning artists, designers, and craftspeople, we built an embracing space that reflects our philosophy, desires, and needs, aligning the principles of nature and temples with a contemporary expression.
The building itself was rooted in the belief that sustainability lies in the thoughtful selection and origin of materials, a commitment to quality (with the architect as commissioner), and the adaptability of modular design. Its outer construction, a contemporary wooden, glass, and concrete design, shows a distinct character while providing hull apartments. This space afforded us the foundation for shaping both our homes and our lives.
At the heart of this process is Dailyvote, the philosophy I have lived by since 2013. It is rooted in the belief that every action we take casts a vote for the world we wish to be part of. For our home, it was consciously selecting collaborators whose values, vision, energy, and quality aligned with the essence I envisioned to embody in our space. This approach allowed me to cultivate meaningful relationships, affording a sense of embodiment throughout the process, and genuinely practice what I preach. At the time, I was researching resonance, quality, hosting, and commissioning, and how these elements strengthen one another. This allowed me to bring theory into practice and vice versa.
On another layer, we were able to express our longing to be closer to nature, cultivate a contemporary sanctuary, and explore new ways of living. This vision unfolded through a grid of wooden asymmetric blocks housing cabinets and bathrooms—a 'house within a house' that was built with each space revealing its own universe. A rail system for textile partitions connecting the wooden blocks allowed us to align with the seasons and time of day, while open yet intimate walkways with hidden doors and cabinets evoked the delight of wandering through the woods. The design itself unfolded through various collaborations, building upon and intertwining with one another. These elements became the cornerstone of our journey toward creating an embodied apartment and, above all, a profound sense of inner home.
Designers & Crafts people
Studio Nauta, Atelier Ternier, Viabizunno, May
Liok, Johannes Offerhaus, Thor Schuitemaker Wichstrøm,
Buro Bélen, Tjeerd Veenhoven / Huis Veendam, Theo Keller,
Rikkert Paauw, Kvadrat, Bouwdam
A SENSE OF HOME
MODULE - HOW TO WORK FOR A COMMISSIONER
“"How can we create value for the commissioner, for the collective Collectie Arnhem, and for ourselves as emerging designers?"
For the 3rd-year BA Fashion Design at ArtEZ Arnhem, Johannes and I developed the module How to Work with a Commissioner. This half-year program was an experiment to further develop Collection Arnhem, in which students collaborate to create a unified collection. In this iteration, we introduced the dynamic of working with a commissioner—reflecting the reality that most designers will work for clients, other designers and teams, or directly for a market. The goal was to equip students with the skills to articulate and develop their vision while also responding to a client’s needs and feedback.
Based on the students’ reflections on their envisioned futures and the designers they are inspired by, we selected performance artist Astrit Ismaili as the commissioner. The project involved designing a collection for their film The First Flower, with selected garments also featured in Astrit’s performances.
Working for a client—especially a performance artist—meant the designs had to function beyond the aesthetic. The garments needed to move well, to hold up on stage and on camera, and to serve the storytelling. This challenged the students to consider functionality alongside concept, and to work across the disciplines of art, fashion, and costume design.
