De first objects of Wim Borst consist of simple geometric forms, mostly the cube, on which geometric patterns are applied. After some time he begins to cut and divide the forms and to join the elements in a different way, leading to shifts and optical divisions in the geometric composition.
 

                
Counterpoint I, 1980, 2 parts h21 cm                   Counterpoint II, 1980, h21 cm
coll: City of Haarlem collection


In 1983 Wim Borst is one of the participants in the exhibition '100 gewone en ongewone dekselpotten' (freely translated: hundred usual and unusual pots with a lid), organized by Gallery Het Kapelhuis. This exhibition was very stimulating for the development of his work. The pots with a lid (or 'boxes' as he himself prefers to call them) are characterized by the same ingenious lines - optical confusing like his former objects.

            
Two boxes,1984, h5.5 en h17 cm h                       Gallery Het Kapelhuis, Amersfoort 1983

Around 1986 Wim Borst starts to use plexiglass. He uses it as a layer of division between the two parts of an object, while at the same time they function as a line.
To divide and connect remains the theme of his work. Thanks to the plexiglass the objects become more spatial and the use of colour becomes more important. In this period architecture is the main source of inspiration.
 

             
Vase,1986                                                          Kunstobject als onderscheiding, 1987
h19 cm                                                              ceramics/plexiglass h19,5 cm
coll. Frans Halsmuseum Haarlem                          coll. City of Bloemendaal collection           
photographer: Johan van der Veer                        photographer: Johan van der Veer



From 1986 to 1990 all objects are black, combined with clear plexiglass. The character of the objects is architectonic, although he is also interested in the theme of the 'teapot'

           
Wingvase, 1989                                                Teapot, 1987
ceramics/plexiglass h12 cm                                ceramics/plexiglass h18.5cm
photographer: Johan van der Veer                       photographer: Johan van der Veer



After visiting Paris the use of colour returns cautiously, first gray’s and then yellow, blue and turquoise - also in the plexiglass.
  

           
Entrance I, 1991                                                Roof I, 1991
ceramics/plexiglass h19 cm                                ceramics, two parts, h9 cm  
photographer: Johan van der Veer                       photographer: Johan van der Veer

His overview exhibition 'Delingen/Verbindingen' ('Divisions/Connections') in 1992/93 in Museum Het Princessehof in Leeuwarden meant recognition of his work. His objects in this period become more architectonic and daring.

           
Impression, museum het Princessehof                 Blue Facade, 1992

                                                                       ceramics/plexiglass h18 cm

                                                                       coll. museum het Princessehof

                                                                       photographer: Johan van der Veer

Between 1993 and 1995 classical Greek architecture becomes an important source of inspiration, and also the mythical aspect of Greek culture, translated in the mysticism of a spot and an increasing care for the inside of each object.

Column III, 1994, ceramics/plexiglass  h37 cm

photographer: Erik & Petra Hesmerg

The 'Reliekhouders' ('Relics holders) made between 1996 and 1999 are also inspired by the mysterious. 'Relics holders' are architectonic settings for peculiar elements like a Delft blue bowl, a torso or a pile of paper fragments.

Reliquary I, 1996, ceramics/plexiglass  h16 cm

photographer: Erik & Petra Hesmerg

In 1998 Wim Borst works for three months in the European Ceramics Work Centre. He makes cylindrical forms, which are not glazed and are covered with small glazed geometrical patterns. The texture of the object becomes more and more important. 

E 2-9 Texture II, 1998, h72 cm

After this period in the European Ceramics Work Centre, Wim Borst continues to concentrate on the texture of the object. He makes double vases like 'Keep Rolling' ,
in which plexiglass is used, but he also makes more simple double forms like
'Double Vase V', Nr. 405'.

Keep Rolling I, 1999, 
five parts, ceramics/plexiglass, h20 cm
photographer: Ron Zijlstra
 

        
Double vase V, 1999,
two parts, h15 cm

Around the year 2000 low cylinder forms and tall, complicated cylinders come into being. In these objects the interaction between texture, colour and form are further investigated.

In 2000 his work is awarded with the Altech Merit Award, on the occasion of the Altech Ceramics Biennale in South Africa.
  

Impression at the 'Altech Ceramics Biennale 2000',
Sandton Civic Gallery, Johannesburg (SA)


 

From 2000 he has started to use undulating elements in his work. The objects usually consist of two parts, which can be connected as a pot with a lid, whereas they can also be appreciated loose from each other.

  
White Box I, 2001,  h24 cm
photographer: Erik & Petra Hesmerg


The ‘Shoulder en Collar Series’ from 2003 is an improvisation on shoulders and collars.
His sources of inspiration included seventeenth century millstone collars and haute couture shoulders. Some details contain humorous references. The white-glazed rims of an object for instance conjure up the classic clerical collar.


Collar Series 17, 2003,
h18 cm

 
Collar Series 19, 2003,
ceramics/plexiglass h14 cm

 
2003 'Pedestal',
An initiative of visual artist Peter Hiemstra.

[‘The cooperative project 'Pedestal' is aimed at the exchange of ideas, views, insights and concrete products between eight fellow artists: four working in a predominantly figurative and four working in a predominantly abstract way. The formed pairs made pedestals for one another, which the other artist perfected.'

'Eight ceramists have let themselves be tempted by the search for matching additions or contrasting interventions. This has resulted in surprising forms, which never would have arisen without these fruitful, inspiring and cross-border interactions.']
Wim van der Beek in the catalogue of the exhibition.

Participating artists: Guusje Beverdam-Wil Broekema, Peter Hiemstra-Wim Borst, Jet Mous-Maaike Klein, Frans Ottink-Gertjan van der Stelt. 


Pedestal, 'Gateau d'escargots', 2003
Wim Borst/Peter Hiemstra,  h27 cm


Pedestal, 'Horizontal columns, broken, none of their beauty lost, supporters of the roof.’ 2003
Peter Hiemstra/Wim Borst,  13 parts, h38 cm

The ‘Loggia’ series, started in 2003 and resumed one year later, is again based on the dynamic between convex and concave.
With one single basic form - the circle segment - Wim Borst succeeds in designing exciting objects.

       
Loggia Series 9, 2003                                 Loggia Series 12, 2004 
ceramics/plexiglass h34.5 cm                      ceramics h32 cm 

In 2004 Wim Borst focused on the circle. The ‘Connection’ series, started in 2004, consists of (fragments of) circles which he joins in pairs in a clever way. The objects are usually built up out of loose parts which seem, like magnets, to either attract or repulse one another. The symmetrical compositions gain even more tension because they are often off plumb.

                
Connections Series 12, 2004                         Connections Series 14, 2004
two parts, h11 cm                                        two parts, h14 cm
photographer: Erik & Petra Hesmerg              photographer: Erik & Petra Hesmerg


In the subtle ‘Circle’ series, started in 2005, the theme is once again the manipulation of the perspective. Wim Borst for example turned over and split the bottom of a dish-like object that already tilted towards the right.

 
Circles Series 6, 2005
h10.5 cm
photographer: Erik & Petra Hesmerg   

   
Wim Borst often resumes earlier series, such as these objects in the 2007 ‘Circle’ series.
He broadened or shifted the edges, or cut out circle segments and placed these back at a different angle. Almost like a deconstructivist architect, whose buildings look like they have been broken down and rebuild in a not quite appropriate way. Blue, white and grey mat glazes further intensify the contrast and detail, as with the ‘Connection’ series.

         
Circles Series 26, 2007                                   Circles Series 29, 2007                               
h24.5 cm                                                      h11.5 cm
photographer: Erik & Petra Hesmerg                photographer: Erik & Petra Hesmerg


            

The square suddenly returns in the ‘Rectangular’ series. Wim Borst started to put square slabs on top of circles. This lead to numerous fusions of the circle, the square and their three-dimensional counterparts, the cylinder and the cube. One of the first objects from this series, Rectangular Series 2, 2005, received the Prize of the Town of Vallauris at the 2006 International Biennale of Contemporary Ceramics in Southern France.

Rectangular Series,2,  2005 
h16 cm
‘Prix de la Ville de la Vallauris, 2006', XIX International Biennial of Contemporary Ceramics     
coll. Musée Magnelli, Musée de la Céramique Vallauris Golfe-Juan (FR)
photographer: Claude Germain


Prize-giving ceremony by jury chair Clara Scremini, Vallauris, 1 July 2006
 

Stephan Hasslinger (DE) "Grand Prix de la Ville de la Vallauris",  
Wim Borst (NL) Prix de la Ville de la Vallauris, Section, "Le contenant",     
Caroline Andrin (FR) Prix de la Ville de la Vallauris, Section, "Design",
Rebecca Catterall (GB), "Prix de la relève, jeune céramiste de moins de 35 ans",
Frank Louis (DE) Prix de la Ville de la Vallauris, Section, "Céramique Architecturale, sculpturale ou conceptuelle".

In the object Rectangular Series 9, 2006, two cubes transform into a cylinder. This series can be read as a collection of three-dimensional interpretations of Ad Dekkers’ reliefs from the 1960s, while also evoking associations of monumental spaces such as factory buildings and grain silos.

        
Rectangular Series 9, 2006                              Rectangular Series 16, 2006    
h19cm                                                           h16cm
photographer: Erik & Petra Hesmerg                 photographer: Erik & Petra Hesmerg



Acquisition by the Ceramics museum Het Princessehof, Leeuwarden, of an object from the ‘Rectangular’ series, through gallery Eewal, Leeuwarden, 2006.


Rectangular Series 7, 2005          
h16.5 cm
coll. Keramiekmuseum Princessehof, Leeuwarden.
photographer: Erik & Petra Hesmerg



Acquisition by the Delta Lloyd Kunstcollectie, Amsterdam of ‘Oval shape I, 2001’.


Oval shape I, 2001    
h17 cm
coll. Delta Lloyd Kunstcollectie, Amsterdam
     
 

The ‘Cone’ and ‘Partition’ series followed in 2006-2007. In the ‘Cone’ series, he piled cones and cylinders that transect or penetrate each other.
 
          
Cone Series 12, 2007                                  Cone Series 13, 2007                
h24 cm                                                      h20 cm
photographer: Erik & Petra Hesmerg              photographer: Erik & Petra Hesmerg
                    
He also dissected cones into sheet forms that lean against each other, like the curved steel sculptures of American minimalist Richard Serra. Tension is created by the dynamic of contrasting arches, like in the ‘Loggia’ series. The ‘Cone’ series also contained cuff-like segments that support the form, like buttresses in ancient churches.


Cone Series 8, 2007                          
h24cm                                     
photographer: Erik & Petra Hesmerg

                                  

Out of the ‘Cone’ series the abstract, dancing ‘Partition’ series developed.

          
Partition Series 4, 2007,                               Partition Series 16, 2007                                    
h31 cm                                                       h30 cm
photographer: Erik & Petra Hesmerg              photographer: Erik & Petra Hesmerg

In 2007 Wim Borst received the Jannie Sipkes Award for his entire oeuvre from the Haarlem Art Centre (Kunstcentrum Haarlem). Much to his surprise he received this price during the annual ‘Kunstlijn Haarlem’ from Jannie Sipkes herself, founder and former director of the Art Library of the Haarlem Art Centre. The price consisted of a bronze sculpture by van Eja Siepman van den Berg and a sum of € 2500.

               
Martha van der Lem, Wim Borst, Jannie Sipkes         Jannie Sipkes, 4-11-2007

‘Kunstlijn Haarlem’ 2007
The ‘Kunstlijn’ is an annual visual arts event which takes place during the first weekend of November in Haarlem and the surrounding villages. There are over 200 artists exhibiting their work, in their own studio, gallery or museum, or at exhibitions on locations in Haarlem, Bloemendaal, Heemstede, Haarlemmerliede, Spaarnwoude, Velsen and Vijfhuizen.


       
Impression studio exhibition 'Kunstlijn Haarlem' 2006 and 2007

When Wim Borst started to pile identical oval segments in the 2007 ‘Cumulation’ series, a new theme was born. Once again, slight and gradual changes result in surprising shifts of form.

        
Cumulation Series 2, 2008    
h35 cm

        
Cumulation Series 3, 2008                            detail
h33.5 cm 

                                                   
  

Solo presentation in the Ceramics museum Het Princessehof, Leeuwarden.
Under the title ‘Levenswerk (Life’s work) 06’ - Wim Borst the solo presentation opened in May 2008 in the Ceramics museum Het Princessehof, Leeuwarden
(18 May 2008 - 4 January 2009).
 
The exhibition also included a video interview.

          
L. nr. 336 1994, nr. 206 1990,                       nr. 110 1986,  h19 cm 
nr. 110 1986, nr. 27 1984, nr.88 1978            coll. Museum Boijmans van Beuningen, Rotterdam

[‘With ‘Levenswerk (Life’s work),  want to illustrate the varied development of Dutch ceramics during the last century. These solo presentations have a personal dimension as well, by showing a life in which ceramics is at the centre. Insight is provided by objects and a video interview. Ceramists Han Boerrigter, Maggi Giles, Sonja Landweer, Marja Hooft and Johan van Loon have previously participated in this successful series.’] from the announcement of the Ceramics museum Het Princessehof, Leeuwarden

         
Blue Facade, 1992                                       Reliquary I, 1996
ceramics/plexiglass h 18 cm                         three parts, ceramics/plexiglass h17 cm
coll. Keramiekmuseum Princessehof,
Leeuwarden

         
Collar Series 11, 2003, h23 cm                     Cone Series 13, 2007, h20 cm  
Cylinder Series 2, 2004, h13 cm     
Loggia Series 6, 2003, h34 cm

[‘EVOLUTION OF AN OEUVRE
‘Freedom lies in limitations’ is the maxim that seems to hold for Wim Borst from the beginning of his artistry. It is a motto that appears strict and, as he himself sighed, ‘Calvinistic’. However, this basis has led him to an exceptionally fruitful method of working.’] 

This opening sentence is written by Frederic Baas in Keramika magazine, published by the Ceramics museum Het Princessehof. Nr 2 2008.

2008 was an exceptionally busy year, partly because of the preparation of the publication ‘Wim Borst  keramiek/ceramics’, with the corresponding overview exhibition in the Haarlem Art Centre at the end of October. For this exhibition Wim Borst designed a lot of new work. In the new Counterpoint series he stacks cylinders on top of each other, sometimes with a pattern of repeating lines on the ground form.

         
Counterpoint Series 4, 2008                            Counterpoint Series 3, 2008
h14 cm                                                         h22 cm
                                                                   Collection: Hetjens Museum, Düsseldorf


A striking feature is the use of a bright blue colour which enforces the ‘contrary movement’ within the object.  In several objects the subtle use of plexiglass returns. 

         
Counterpoint Series 11, 2008                            detail
ceramics/plexiglass h24 cm
         
Counterpoint Series 9, 2008                             Counterpoint Series 6, 2008
ceramics/plexiglass h19 cm                              h21 cm                       

 
Book presentation and overview exhibition.
On Sunday 2 November 2008 saw the opening of the exhibition ‘Wim Borst an overview’ at the Haarlem Art Centre, as well as the presentation of the publication
Wim Borst-keramiek\ceramics (31 October until 29 November 2008)

     
Impression of the de opening and book presentation 2 November 2008

              
                                                    

        


   
Impression the  exhibition

The book Wim Borst - keramiek\ceramics can be ordered: 
Dutch / English
96 pages, 49 colour photographs
ISBN 9789090233536
€ 17.95 (excl. € 2.20 shipping charge within the Netherlands)
Link to PUBLICATIONS

During the spring of 2009 Wim Borst worked on a new collection for a solo exhibition at Terra Gallery Delft.

 
Terra Gallery, Delft, May 2009


In the recent Counterpoint series he stacks nearly identical ground forms while letting these skip.

       
Counterpoint Series 14, 2009                       Counterpoint Series 17, 2009
h25cm                                                       h24cm
 

        
Counterpoint Series 12, 2009                       Counterpoint Series 13, 2009
h21cm                                                       h21.5cm


The Rectangular series, started in 2005, is resumed. In this series, cubes and cylinders fuse in a beautiful way. New features are the deep blue and signal red glazes and engobes. Dark-glazed interior spaces are reminiscent of images of Anish Kapoor. The new work is therefore received enthusiastically by visitors of the exhibition. 

         
Rectangular Series 33, 2009                         idem
h22.5 cm
   

        
Rectangular Series 31, 2009                         detail
h34 cm



'Collect', Saatchi Gallery, London.
Terra Gallery Delft presented his work at, amongst others, The international art fair for contemporary objects 'Collect'.  

      
'Collect', Saatchi Gallery, London, 14 - 17 May 2009.