Wereldmuseum Amsterdam

Fieldsite: Wereldmuseum Amsterdam (Amsterdam)
Date: Thursday 23rd of April, 2026
Time of arrival: 10.00

Lasercut wooden tile representing depot item RV-5681-K2563 (skeletdelen in kist)

Waterkruik (pre-1951 Cabinda, Angola)

Inventarisnummer: RV-2966-147

https://collectie.wereldmuseum.nl/?query=search=packages=OnViewTM#/query/868a8ee7-1f6f-4d03-ab01-cbbd34b9d464

Kam (pre-1952, Cabina, Angola)

Inventarisnummer: RV-2966-145

https://collectie.wereldmuseum.nl/?query=search=packages=OnViewTM#/query/e54f1f8e-340d-4f00-b281-f5145e7fe9cb

Facial casts of Katumbukha (1910 Nias, Sumatra, Indonesia)

Inventarisnummer: RV-5734-27

https://collectie.wereldmuseum.nl/?query=search=packages=OnViewTM#/query/411df3c5-2a40-4a0b-ba0d-90097461341c

Several hits using this inventory number: https://collectie.wereldmuseum.nl/?query=search=packages=OnViewTM#/query/ecc46c7d-1d99-42f7-b546-56cbb4ea01f1

loan from Vrolik museum
loan from Utrecht University Museum

Reflections:

Sometimes the first illustration captures the essence, even if it isn’t “right”.
I need to bring a brown pencil if I want to draw things more realistically in colour, and maybe drop the markers that bleed. Perhaps this is more of a pencil and fineliner affair? I would bring acrylic markers, but I fear that’ll just get messy.
My A5 clipboard arrived today! (I could only find them online.) Might also be useful for clipping my sketchbook to, to have a sturdier surface, although it doesnt fit my vest pocket. Maybe I could construct a sling? Then again, I think that may be a bit inconvenient and draw too much notice? I don’t know.

Wereldmuseum is very quiet, especially the Pressing Matters bit, and it also has a lot of objects in glass cases, so it might be worth continuing to return there. Maybe I could continue working using sketches and images at home, and then also see how it is to then come back to the item? Additionally, I am not in the way of anyone most of the time, and feel comfortable contorting myself almost all up in the glass to try to get a good angle and proper look at details. I do however still want to conduct a visit somewhere where I’ll be forced to move, but a part of my feels bad going somewhere during peak time to be in someone’s way on purpose.

Brought a 0.3 fineliner (couldn’t find a 0.5) today, but in the end the 0.9 did a good job. I tried using a bigger postit to redraw a jug, so I could move it around, but I don’t know how it went. Also tried drawing the likeness of a cast, it was mediocre, but that has more to do with my life drawing skills (and maybe the orientation?).
I also drew one of the lasercut tiles - it’s not technically an “object”, even though it does represent one, but it is something I can touch and feel already, and so I wanted to see how the drawing changed things. The smell got stronger as I held it closer, and I even noticed my hands smelling like burnt wood an hour later.
The position of the cabinets does not allow you to walk around it entirely, and/or some sides do not have glass, i.e. the water jug and comb, or the headdress.

I can also feel that I am becoming tired - only about 2 hours went by before I said enough (although I did have to stand on the metro journey there, and then walk, which I don’t think helped, even though I enjoyed the walk itself in the nice weather). My knees could feel the crouching, and my soles were achy. I decided to leave as soon as the frustration started creeping, even though I was tempted to also go to the Making … In China exhibit and draw some of the objects there. Maybe next time, I’d rather take care of myself as I set out to do than burn it all already.

I find myself speaking to the objects inside my head, calling them “you” as I draw them, adjust, study. Is this part of the “sympathetic magic” of Berger?
Yesterday I also look at my sketches and photos of Beyisima by Norva Sling from Monday, thinking to myself in a similar manner, and even making Sling into a sort of parent or mother for the statue, telling it (?) I suppose that I was listening to music from its homeland, from its mother’s homeland, I’m not sure if I was referring to the sketches of the statue as the “you” at this point, or if I was sort of convening with the statue through the sketches? I have no idea, it just sort of happens by itself. Was it perhaps particularly “natural” as the statue is humanoid?

My process thus far:

Materials

Supplies

Polyschromos pencils (assorted colours)æ
Fineliners
Brushpen
Markers (Faber-Castell, different sizes/types)
A5 sketchbook
Double size grid post-it note (added later)
Clip (added later)
Pencilsharpener and eraser

I keep all my supplies in a phone purse with zipper pockets, so I know it will be within size allowance - my actual phone is in my pocket
I wear my fluffy zip-up vest as it has pockets big enough for my sketchbook (and a book), so I can be hands free and can’t put my sketchbook away if needed

Planning

Pre-book tickets, check for travel route, if photos are allowed and if there are lockers/coatroom (unless I am already familiar)

In situ

Visit museum, observe and illustrate, and write fieldnotes or comments if relevant
Take photos of label and object (including zoomed in and/or from different angles)

After/at home

Using both the photo of the label and search on the museum’s (archive/collection) website, I log the item name, maker (if relevant), year, location (if available/relevant), object/inventory number and link to the item in the online archive, of the items I have interacted with/illustrated
Then I write a reflection note, based on what I remember, wrote down and drew, either the day of or the day after
Alongside this I continue reading and doing “literature research”
I have also slightly thus far engaged with the items and sketches once at home, for instance looking up further information and making more drawings