About
Exhibitions
︎Ron Mandos
“Best of Graduates 22”
︎SBK Kunstuitleen & Galerie
“sprouts young talents 2022”
︎Tweede Kamer
“Best of Graduates 22”
︎IDFX Breda
“T VIERKANTJE”
︎Arti et Amicitae
“SPROUTS 2023”
Publications
︎Metroplis M “Eindexamens 2022”
︎Volkskrant Magazine “zomerdagboek”
Awards
St.Joost penning “Best Graduation Project”Sophie Engels is an interdisciplinary artist born in 1997 in Roermond, the Netherlands. She grew up in a small town in the south of the Netherlands and is now based in Rotterdam. Recently graduated from Sint Joost Arts and Research in Breda.
In “No man’s land”, Sophie takes on the role of an observer, capturing her own experiences as aqueer woman as well as other women’s experiences. She translated these experiences into audiosculptures which tell different stories of womanhood. Together, these elements make for aninteractive installation with a focus on the act of listening.
Engels travelled to Portugal to create the first mold and sees great value in the almost ritual-likeprocess. Being physically close to her subjects while covering their legs in duct tape forces animmediate, intimate connection. The hours it takes to make the mold help build a bond in whichthese personal stories can be shared.
She would like to shed a light on stories and experiences that otherwise would not have left femalesafe spaces; their bedrooms, their sleepovers, their phone calls, or their minds. The installationspurposefully make the audience come uncomfortably close, making them do the work to hearstories that are oftentimes ignored.
People being able to observe the ones listening makes for an interesting power dynamic betweenthe listener and the observer. With the discomfort that comes with being watched, the onesinteracting with the work become part of the work.
The installation, which some will consider a feminist work, is aware of the exclusion of POCwomen within the feminist movement and would like to offer a space for these voices.
Engels’ interdisciplinary work uses analogue photography, writing, audio, performance andinstallation to convey its messages. Messages of womanhood, which include intimacy and love, but also power dynamics, violence, and the roles that we play.
In “No man’s land”, Sophie takes on the role of an observer, capturing her own experiences as aqueer woman as well as other women’s experiences. She translated these experiences into audiosculptures which tell different stories of womanhood. Together, these elements make for aninteractive installation with a focus on the act of listening.
Engels travelled to Portugal to create the first mold and sees great value in the almost ritual-likeprocess. Being physically close to her subjects while covering their legs in duct tape forces animmediate, intimate connection. The hours it takes to make the mold help build a bond in whichthese personal stories can be shared.
She would like to shed a light on stories and experiences that otherwise would not have left femalesafe spaces; their bedrooms, their sleepovers, their phone calls, or their minds. The installationspurposefully make the audience come uncomfortably close, making them do the work to hearstories that are oftentimes ignored.
People being able to observe the ones listening makes for an interesting power dynamic betweenthe listener and the observer. With the discomfort that comes with being watched, the onesinteracting with the work become part of the work.
The installation, which some will consider a feminist work, is aware of the exclusion of POCwomen within the feminist movement and would like to offer a space for these voices.
Engels’ interdisciplinary work uses analogue photography, writing, audio, performance andinstallation to convey its messages. Messages of womanhood, which include intimacy and love, but also power dynamics, violence, and the roles that we play.