Faan Olgers x Rosewood Amsterdam

Bisou Gallery’s Faan Olgers was commissioned to create a bespoke sculpture for the lobby of the hotel. The Amsterdam-born artist (b. 1947) drew inspiration from the building’s four iconic pillars, which serve as a strong base for the piece. Atop this foundation, he added a series of abstracted figures, referred to as “visitors of the hotel”, bringing a sense of joy, adventure, and playfulness to the work. Aptly titled 'Mystery Guest', the sculpture is prominently displayed in the lobby, welcoming guests with a balance of structure and spontaneity that echoes the spirit of the Rosewood itself.

The yellow sculpture next to 'Mystery Guest' is also by Faan Olgers and was separately acquired for the Rosewood art collection, along with two monumental woodcut prints the artist produced in the 1980s.

The process behind "Mystery Guest" began with rough sketches and ideas on paper, as Olgers explored ideas and the composition of the piece. From there, he moved into three-dimensional paper models, each element meticulously cut, folded, and arranged by hand. These studies allowed him to experiment with form and structure, gradually shaping the sculpture. As with much of his work, this intuitive and hands-on approach is essential to Olgers’ practice, letting the piece evolve naturally until it finds its perfect shape.

In the next phase, Olgers begins crafting each element of the sculpture from wood. Every component is hand-cut, sanded, and built with precision and care. The sculpture is composed of a collection of individual forms, all threaded onto a central wooden rod that runs from top to bottom, connecting and stabilizing the whole.

Once the wooden pieces are complete, they are each wrapped in a carefully cut layer of newspaper. This step serves both a functional and aesthetic purpose: it helps the pigment adhere evenly later in the process, and allows Olgers to achieve the soft, textured finish he’s known for. Each newspaper piece is meticulously trimmed to match the exact contours of the wood it covers, underscoring the artist’s commitment to detail and craftsmanship.

In the final stage, Olgers coats the newspaper-covered forms with a layer of white gesso, creating a smooth base for the pigment to adhere to. He then applies the color using raw pigment, specifically, a rich oxblood red chosen for this sculpture. Olgers mixes and applies the pigment by hand, a process that allows for subtle variation and texture.

Rather than a uniform surface, the result is full of depth: areas of light and shadow, visible brushstrokes, and a sense of movement in the color itself. It’s this irregularity, this evidence of the maker’s hand, that gives the sculpture its warmth and vibrancy, inviting viewers to look closer and feel the energy embedded in every layer.