The project is a continuation of a locally-sourced, clay-focused initiative that began during Dutch Design Week. Using clay sourced from Amsterdam’s West side and recycled materials, Kim creates tableware—primarily serving plates—that tell the stories of Westerpark and Amsterdam’s green spaces. These plates will feature illustrations inspired by collected stories about farming, growing, and caring for animals within the city and specifically from within Westerpark itself.
The project emphasises community engagement and highlights the connection between soil, nature, and urban life. Visitors can also witness the entire process during demos, from mixing and sifting clay to drying and forming it, showcasing how the soil beneath us can become a functional object. The installation includes demonstrations of clay-making and displays of both finished and unfinished pieces, aiming to draw peoples’ attention to the processes that are behind aspects of our everyday life guiding viewers to better understand and cherish these pieces. It is also a reflection on the history of Amsterdam and more specifically Westerpark and the spaces within the park that took part in shaping Kim’s childhood.
What does the concept of garden city ideals and the combination of green and social cohesion within Amsterdam mean for you?
The concept of garden city ideals resonates with me, especially in relation to celebrating 750 years of Amsterdam. Growing up, I noticed that many people in Amsterdam don’t have gardens, which makes finding nature within the city even more important. For me, green spaces like Westerpark became my backyard—a place to play, explore, and learn about nature. These spaces are vital, not just for physical activity, but as safe, accessible areas where people can connect with the natural world, even within an urban environment.
My family has been based in Amsterdam for many generations, so I feel a strong connection to the city. Within Westerpark, there are many places that bring nature to the city, keeping it alive and important. In the park, there are farms, gardens, spaces for educating children about the importance of nature. Such spaces played a central role in my childhood and the relationship that I grew with nature. There are a lot of lovely spaces in the park that add to it and to the story of the neighborhood. For my pieces in this exhibition, I collected stories from these different spaces in the park. I wanted to focus on the spaces that build community around the park, keeping nature healthy and alive and prioritising nature preservation. I represented these spaces on the four plates that I made for the exhibition. They show stories of farming, growing, and taking care of plants and animals within the city.
In the exhibition, I also want to show how I work with soil. I have included clay, a bucket to mix it, space to shift it, and space to dry it. This shows the whole process of how the soil we stand on can be turned into something new and functional in a different way. By showing the starting elements and the finished pieces, viewers gain perspective of the whole process. This also highlights where the products that we use in our daily lives originally come from, drawing viewers attention to the fact that they come from nature.
How is this concept expressed through the art piece you are making for this exhibition?
This concept is expressed in my work by demonstrating what can be created using the soil from where we live, showing that we don’t need fancy materials but can work with what is around us. I used Dutch and recycled clay, mostly sourced from Amsterdam West, the area where I grew up, which serves as a tribute to the places within Westerpark that were meaningful to me as a child. By incorporating locally sourced clay, the pieces reflect my connection to nature within Amsterdam, specifically Westerpark.
Is there something in the current exhibition, ‘Het Paradijs van de Arbeider: Tuindorpen en Tuinsteden', at Museum Het Schip that sparked an interest for you?
The exhibition made me reflect on garden cities and their role in urban life—I had not realised that these green, tree-filled neighbourhoods were called garden cities. These areas are some of my favourite places in Amsterdam. As a child, I loved playing in these green areas, and even now, I prefer being in neighbourhoods that are rich with nature. It also reminded me of how important spaces like Westerpark have been for me, both growing up and now, as places to connect with nature within the city.
How do you see the relationship between urban development and community well-being reflected in your own artistic process or perspective? Or more generally in your daily life?
Community is incredibly important, both in my artistic process and in daily life, as you often need other people to collaborate with and support your projects. Being at Contact has highlighted this for me—it creates a sense of connection and helps counter feelings of loneliness. Without a community or network, it can be difficult to build something meaningful. In this exhibition, for example, while the three of us are working on separate projects, there’s a shared understanding and synergy that comes from working alongside one another.
This mirrors how communities function in cities. Growing up in Amsterdam’s GWL area, I experienced firsthand how modern, sustainable urban developments can foster a strong sense of community. The neighbourhood was designed with sustainability and social interaction in mind, bringing together people who care about the environment and creating a cozy, village-like atmosphere within the larger city. It showed me how intentional urban development can help foster community well-being.
What role do you think art can play in shaping or reimagining the future of garden cities and green urban living?
Art can play a significant role in shaping and reimagining the future of garden cities and green urban living by encouraging a return to craftsmanship and hands-on practices. More and more people are rediscovering the value of making things themselves—whether it’s baking bread, knitting, sewing, or working with ceramics—and moving away from mass-produced goods. This shift reflects a desire for self-sufficiency, sustainability, and a deeper connection to the nature around us.
I’ve noticed a growing trend of people creating small gardens and reconnecting with nature and each other. Art has the power to amplify this movement, serving as both a medium of expression and a way to inspire sustainable and self-sufficient approaches to how we live in and design our urban spaces.
