Selected by Joachim Baan

In 'Eyes of Gold', we invite some of our favourite tastemakers with a golden eye to select three works from the Bisou collection. Each guest explains their choices and shares how these pieces might live together in their space.

Tell us a bit about yourself

You’ve selected three works from Bisou, what drew you to each?

There’s something quietly magnetic about these three works, 'Boysclub', 'FOV 1440', and 'Bleu'. Though each is distinct in form and mood, they share a visual language that resonates deeply with my own aesthetic sensibilities: a balance between the abstract and the real, between restraint and tension, between something intimate and something just slightly unhinged.

They sit on the edge of the dark, not overtly, but suggestively. A kind of muted intensity lingers beneath the surface. There’s a looseness to them, but also a sense of careful calibration, where movement is suspended in a moment, and something essential is caught just before it slips away. They’re familiar, but not obvious. Recognizable, but not derivative. Like a memory you can’t quite place.

Would you display these together, or would they live in different spaces?

I think these works go really well together. Together, they don’t compete, they build. They hold space for one another. There’s a kind of visual rhythm between them: soft and sharp, quiet and intense, real and abstract. Seen together, they feel like different registers of the same emotional frequency.

Is there a piece from this selection you'd love to ask the artist a question about?

'FOV 1440' immediately reminded me of the structural grids found in church ceilings, those ribbed frameworks that feel both sacred and architectural, classic yet weightless. There’s a real sense of balance and quiet precision in it. I’m curious: what was the original inspiration behind this piece?

Dear Joachim,

Thank you for your thoughtful engagement with my work. I truly appreciate that it sparked your imagination, there's nothing wrong with making associations, quite the opposite.

Regarding your question about inspiration:
My process often begins with a single sheet of paper, a flat form that can be folded into a three-dimensional shape, ideally without the need for glue or too many cuts. The photos underneath reflect the starting point of that concept.

This approach presents many technical challenges, but finding solutions is what makes it so rewarding. Aesthetics are important, some folds or connections can feel off or unresolved, which pushes me to refine, remove, or reshape elements until they feel right.

While the folded forms dictate my process, they are not the end goal. What matters most to me are the folding patterns, the flat shapes before folding, which often hold their own unique character. My works are usually symmetrical, which gives them a stillness and quiet presence that I find powerful. Quiet, of course, doesn’t mean boring, the eye should always have something to explore.

Ultimately, what I create is a kind of free space for the mind. It doesn’t connect directly to daily life or current events. It exists on its own terms.

I hope this gives you some insight into my practice. And I warmly thank you for your interest.

Best wishes,
Faan Olgers