[ Art ] Interview with Elise Crutzen: Inviting Nature In. The Philosophy behind Earth Painting.
[ AD / art piece gifted ] I've been pondering the idea of starting an Art series of blog posts and interviews since, I think, this blog was created two years ago. The main challenge was finding artists whose style and philosophy resonated with the blog atmosphere. So, finally, here it is - my first interview with an artist.
Hi, Elise :)
The Earth Painting in the dining area of our minimalist living room.
Please introduce yourself :)
My name is Elise Crutzen (33). I’m an Earth Painter and writer, originally Dutch, but we moved to a Victorian cottage in a forest just outside London seven years ago. At that time, I had so many deep questions about (my) life, but one thing I knew for sure: I felt truly good — deep-in-my-heart good — in the British countryside whilst visiting a friend. We made the decision to emigrate; I rebuilt my life from the ground up, alongside my partner Huub and our Beagle dog, Elly. In all my creative expressions, I keep on coming back to one thing: reconnecting with my inner nature, but also with the outer nature. Hence my philosophy: Inviting Nature In.
Elise Crutzen // https://www.instagram.com/elisecrutzen_earthpainting
What inspired you to start creating art using natural pigments from the earth?
My journey into Earth Painting ‘officially’ began in 2018 (but probably a lot earlier), during a time of big life changes. I was 27 and, following our move to the British countryside, I was dedicating every minute of my life to introspection through writing my debut book, On My Way Home. Through this process, I was reconnecting with my creativity and spending a lot of time in nature. Silence, nature, feeling, and healing through creativity – I think that was my daily rhythm. I knew and felt I wanted to pick up painting again, and so I went to an art store to buy supplies. But living in an old forest had started changing me and the way I experienced the world, yet I only realized that when I stood in the art store, overwhelmed with choice, colors, and artificiality. Nothing was giving me that naturalness and purity that I was so clearly after – that I’d grown accustomed to by living in a forest. So, I left the store empty-handed. Pondering. Wondering. Back home, wandering in the forest and still wanting to paint, the idea came to me: I could create with the world around me. Well, this insight kickstarted everything. I started off with simple charcoal, and then during my daily hikes it became like, “Oh – I wonder if I can paint with this, or with that?” And then experimenting in the atelier. And it still works like that. It’s amazing. Creating art like this teaches you so much about the natural world and, in the end, about your own existence in the natural world. You must experience it – but I also believe that you can experience that when you observe and tune into an Earth Painting. Then, in 2021, I was invited to join an international training program called Holistic Visions, where I learned indigenous ways of seeing, being, and acting in the world. It only confirmed to me, deep in my heart, that I was on the road that felt good to me. I integrated these teachings into my art practice, embracing an even more holistic and interconnected approach.
The Earth Painting with it’s perfectly imperfect rough surface helped bring some nature inside.
Can you describe the transition from working in the fashion industry to becoming an artist/painter? What skills or perspectives from your fashion background have been most valuable in your current artistic practice?
Well – deep sigh – there was this pivotal moment. To give you a little bit of background: I have a master’s degree from Vogue Spain, where I interned and studied for about two years. After that, I worked as a freelance fashion writer and consultant for magazines and fashion brands, and my goal was to get an article published in Vogue Latin America. Once I succeeded at that, holding the magazine in my hand, I felt so empty, which was confusing. I always describe that feeling as dropping a penny in a well, and the sound is flat instead of a big splash (a big splash means that it feels good).
I started making some changes, focusing on sustainability in fashion – wanting to make a positive impact. Then, I was invited by Carry Somers (co-founder of Fashion Revolution) to spend time with her in England. All these things happening and shifting at various levels in life meant that I started changing and growing more and more until I physically and mentally couldn’t write anymore. I was only seeing images in my mind of landfills with clothes. Flash forward, my book was nearly finished, I’d started painting with natural pigments, and I realized that Dutch people own and wear so many jeans per person (fact). And I realised: I could use those jeans and turn them into canvases, closing the loop that way.
There’s so much that I’ve learned during my studies and internships at Vogue that I’m still integrating into my practice. Skills like editing, performing to the highest standards, collaborating, producing, history, recognizing the value of true craftsmanship, and how to spot it, learning to see fashion and creativity as an expression of the zeitgeist (and understanding/reading it in that context), but also the power of storytelling: going from that the initial spark of inspiration to translating it into a tangible, inspirational story for readers.
Your work is deeply connected to nature. How do you choose the locations for your earth paintings? Can you briefly walk us through your process of collecting and preparing the natural materials for your paintings? And how this may vary for each piece or client?
What we absolutely love doing, since we experience firsthand how this feels, is starting off a collaboration or commission by asking our clients if they have places on Earth they cherish, that they can’t always visit, but where they’ve had a significant or unforgettable experience or moment. Places they would want to feel closer to. Then, we look at our intentionally sourced pigment cabinet to see if we have pigments from that area – so that we can use them. Otherwise, clients have already collected, or will collect, rocks themselves that we will use. This adds a layer of meaningfulness for the clients – and for us as well.
When it comes to picking locations, Scotland, for example, is not only, nature-wise, a gorgeous area to experience, but also, geologically speaking, it is incredibly fascinating. So that area was very intentionally chosen for multiple reasons. I also have a series from the Euregion, and that area I chose because I wanted to deepen my love for my roots through Earth Painting. So I went to all the places where my ancestors and I come from.
I believe there’s beauty everywhere, and we work according to Intentional Principles regarding sourcing and collecting pigments. This sourcing protocol is influenced by indigenous wisdom, honors the material and locations we collect from, and this way of sourcing and collecting just feels ‘right’. It is explained in further detail here.
From your point of view - what kinds of spaces or interior styles mostly benefit from your artworks? (For example - my home always seemed to look too “perfect” - I was looking for an artwork or an object to add more natural lines, warmth, and texture, maybe to add some “natural imperfection” in some way - that’s why your Earth Painting worked so well for my space).
I think what you’re describing here is exactly what an Earth Painting can do for your interior. It’s all about balance, right? So, when you have a lot of straight lines and masculine materials in your house, an Earth Painting really balances and softens these influences. I mean, my personal taste and the most natural match for an Earth Painting in terms of interior design is, I think, Axel Vervoordt- and Vincent van Duysen-like interiors; interiors where the purity, realness, honesty, and authenticity of materials and objects are celebrated. Where you can sense the stillness and feel the purity.
But a main requirement, I’d say, is good natural lighting. Since Earth Paintings are made with natural pigments, they react so beautifully and strongly with light. During the day, you can see them transform in line with the sharpness of the morning sun to the warmth and redness of the evening light. I appreciate observing them, as a meditation, changing with this natural light. I feel that’s what Earth Paintings deserve and when they ‘come to life’.
At the same time, when it comes to spaces that benefit from my Earth Paintings, I love to see a clash. To see an Earth Painting in a really clean and Nordic interior or in an old, ‘moody’ Georgian or Tudor manor – really allowing it to be the unexpected yet lively accent; I think it works really well.
What message or feeling do you hope to convey through your earth paintings?
I hope that through Earth Paintings we may feel closer to nature, be reminded of its sheer beauty and preciousness, and that through this rediscovery, we might be reconnected with our own inner nature. Once you love something, you don’t want to harm it.
Can you tell us about a particularly memorable or challenging piece you created?
Each Earth Painting is an outflow of a unique and specific process, telling another beautiful story. Therefore, they each have their own beauty and particularity. To choose a favorite piece would be very difficult for me. However, the series with Jamie @studio__yen is a process and collaboration that has really pushed our boundaries, infused the Earth Paintings with even more quality, and added an additional layer of meaningfulness by telling a bigger story: that of women’s resilience, strength, and their role as homebuilders, particularly in the face of displacement. It is a story with many different layers, reflected in the diverse designs of the Earth Paintings. A portion of the sales will be donated to UN Women UK. Being able to use art for change and contribute to a greater good means so much to me, and I’d love to continue down this road.
How do you preserve your earth paintings, given the organic nature of the materials? Do you have any advice for those who already own one of your pieces (like myself!) or are considering it?
For one, Earth Paintings are created with nature – and nature evolves, erodes, and lives. That you must accept. This is part of the artwork’s teaching process for us humans, as I have learned. However, throughout my practice, I have found ways to help nature remain a little more ‘standing still in time’, minimising or slowing this changing process. What works best is not to hang them above significant sources of heat or in areas with frequent or large temperature changes (so, for example, not directly above a radiator or in the path of rising heat from a working fireplace). Avoid placing them where full, hot sunlight directly enters the house – unless you don’t mind your Earth Painting responding slightly to that. Indirect light, along with a steady humidity level and stable home climate, works best. Due to the natural adhesives and glues, as well as the fact that they’re built from many layers adhered to each other, the Earth Painting maintains its structural integrity very well.
Thank you so much for the opportunity to learn more about your unique journey and the philosophy behind your art. It’s been incredibly interesting! Wishing you all the best with your future projects and adventures.
You can find more about Elise and her work in her Instagram and Website.
December, 2024
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