We met Ytje at the Illustration Biennale to discuss her artistic philosophy, her approach to the creative process, and how she integrates new technologies into her art practice, continually pushing the boundaries of traditional and digital media.&nbsp;Q: How do you personally define creativity?Ytje Veenstra (YV): “Creativity is essentially about problem-solving. I firmly believe that if you want to be creative, you must keep an open mind: be open to new ideas and listen to others.”&nbsp;<blockquote><h1>“Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad.”</h1></blockquote>&nbsp;Q: Many believe creativity is an innate gift. What’s your stance? Can it be taught or enhanced?YV: “I think that creativity can be taught and nurtured. The myth of the solitary artist waiting for the Muse to strike is both outdated and damaging. Creativity isn't about waiting; it's about engaging actively with your medium. It's about showing up and dealing with whatever the day brings—good or bad. The more you engage in the process, the more you can enhance your creative abilities. This persistence, the continual effort, is what fosters creativity, not some fleeting moment of inspiration.”&nbsp;Q: Sounds a little bit like that other myth: that one has to suffer for one’s art.YV: “I’m intrigued by the raw struggle that comes with creativity and the making of art. And it can be a struggle. For me, the process is where the magic happens, so I wouldn’t call it suffering for my art. It’s just that I value the act of creation, often more than the finished piece.”

Q: Can you expand your emphasis on the creative process over the outcome?YV: “It’s a philosophy that helps me stay focused and less fearful of making mistakes. Mistakes and happy accidents are inevitable, and instead of errors, I view them as invaluable learning opportunities. Each project teaches me something new about myself and my craft, regardless of how it ends.”&nbsp;Q: But as an artist, you don’t sell your process; you sell an end product. There’s some tension there, or not?YV: “For me, it’s all related to striving for uniqueness. Authenticity is paramount in my creations. I believe true art should stir strong emotions and provoke thought, not just please aesthetically. It should challenge viewers, pull back curtains to reveal hidden layers, and invite diverse interpretations. I aim for my work to be a dialogue, not a monologue.”&nbsp;<blockquote><h1>“Every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”</h1></blockquote>

Q: Let’s shift gears: you transitioned from illustration to VR at one point, which must have been a significant shift. How did you first get involved with virtual reality?YV: “My journey into VR started when Tamara Shogaolu contacted me from Ado Ato Pictures. She introduced me to a project that involved telling poignant, real-life stories through a new medium. This shift wasn't just about adopting a new technology and a new way of telling stories. VR allows for a more immersive experience, pulling the audience directly into the narrative world in a way traditional media can't.”&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/5p1vy7vQNwU?si=6X8JGfHALUy_fYy3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;Q: With new technologies constantly emerging, how do digital platforms influence creativity?YV: “Digital platforms are reshaping how we create and consume art. They break down geographical and economic barriers, allowing artists to reach global audiences and find previously inaccessible niches. However, every tool or platform I use must serve the story I’m telling. The message should drive the medium choice, not vice versa.”

Q: The blend of art and technology can be complex. How do you navigate these waters?YV: “The key is to stay informed and adaptable. I experiment with new tools to understand their potential and limitations. It's crucial to remain a student of art and technology, continually learning and evolving. By doing so, I ensure that my use of technology enhances my artistic expression rather than overshadowing it.”&nbsp;<blockquote><h1>"Technology is just one part of the equation—your unique voice and vision make your work resonate.”</h1></blockquote>&nbsp;Q: Finally, what advice would you give to artists navigating the complexities of modern technologies and creative expression?YV: “Stay curious and open-minded. Embrace new technologies but remain critical and discerning. Understand what each tool can offer your practice, and think critically about how it enhances or detracts from your artistic message. And remember, technology is just one part of the equation—your unique voice and vision make your work resonate.”

&nbsp;This interview was conducted at the Illustratie Biënnale Haarlem, the illustration and graphic art festival. We’re proud to call the Biennale one of our partners. For more articles and design challenges check back soon.&nbsp;<a href="www.illustratiebiennale.nl">www.illustratiebiennale.nl</a>&nbsp;<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/biennaleposter_3532e453e6.jpeg" alt="biennaleposter" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_biennaleposter_3532e453e6.jpeg 156w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_biennaleposter_3532e453e6.jpeg 500w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_biennaleposter_3532e453e6.jpeg 750w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_biennaleposter_3532e453e6.jpeg 1000w," sizes="100vw">

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Ytje Veenstra is an internationally renowned VR artist, animator, and illustrator with a career that spans a diverse array of mediums and styles. Educated in illustration, Veenstra's work is deeply research-based, drawing on a rich tapestry of pop culture references and a keen observance of everyday life.&nbsp;From her early days sketching with pencil through her explorations in papercuts and pigment-based markers, she has continually evolved. Now, she focuses on creating digital art and immersive environments in Virtual Reality. But Ytje's signature style shines consistently, no matter the medium.

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

We meet up at Capital C, Amsterdam's creative hub, housed in a former diamond factory. Our interview takes place in the old clock tower, which Kessels has converted into a unique office space. All the walls and ceiling are adorned with a large, eclectic collection of clocks. You can rent the space for as long as you need, but be warned, when your time is up, a cacophony of sound will ensue as all the clocks go off simultaneously. Kessels demonstrates this by setting the alarm, and the sound of hundreds of clocks ringing at once is a jarring experience that only ends when you hit the big red buzzer, cleverly concealed within one of the larger clocks. "It's an effective way to bring a meeting to a close," Kessels says with a smile.

What is your personal definition of creativity?EK: “Ultimately, creativity is about doing things differently. When something is ‘different’ and unusual it surprises you, makes you laugh, or makes you think. Creativity is something that inspires people to think and see things differently. Plenty of people say they work in the creative industry, but they've never done anything creative. They're just robots sitting behind a computer, churning out content and following data. Which is why I think it’s more important than ever to put all your energy into your personality and your thought process.&nbsp;People think that creativity is about finishing something or making it perfect because that’s what we tend to focus on. We like to present the finished product: picture-perfect portfolios, glossy websites and Instagram accounts. But that's not really creativity. I usually explain it using the front versus backyard metaphor. The front yard is sort of a reflection of who you are: it’s a little bit creative, but on the whole it’s really a place for people to walk by and look at, which is why everything looks perfect and tidy. However, it’s the backyard that’s interesting because that’s where you’ll find the real creative stuff: unfinished proposals, passion projects, but also feelings of frustration and shame. It’s a place you fence off and where you spend a lot of time struggling and tinkering with things. It is here where ideas are born, which are then moved to the front yard for all to see.Many schools and companies only focus on the front yard – your portfolio – and not so much the backyard – your personality – which is such a shame. I believe that 90% of the time, the focus should be on students’ personalities, on their potential and on teaching them to think as extreme as possible.”&nbsp;

So I gather you believe that creativity is a teachable skill? Or is creativity an innate talent, bestowed on a lucky few?EK: “I am of the opinion that creativity is not an innate talent that people are born with. While some individuals may find it easier to let their minds wander and discard preconceived notions, that's really as far as it goes.&nbsp;Creativity can be hard work. Every time I have to come up with something new, I feel like a beginner all over again. At times, I'll feel inspired, and an excellent idea will materialize in just a few minutes. Other times, it takes weeks of aimlessly wandering, struggling through a maze of clichés to finally arrive at something worthwhile. It's always one of two extremes: either it comes to you quickly, or it's an uphill battle.When it comes to creativity, it's not just about putting in long hours, but rather about picking the right moment. Some agencies have a culture of working late into the night, ordering takeout, and pushing for another round of brainstorming. I don't believe in that approach. In my experience, no one ever came up with a truly innovative idea after 8 pm. I encourage people to go home, get some rest, and come back the next day with a fresh perspective.”&nbsp;<blockquote><h1>"Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary.”</h1></blockquote>

What does that creative process look like?EK: “Most of the work is done in my head. I don't just sit behind a desk or a computer to work something out, instead I walk around mulling things over in my head, visualizing ideas and trying to come up with the best ones.&nbsp;I'm always ‘on,’ constantly on the lookout, discovering new things every day. It could be something I read, research, or some unknown artist I stumble upon. Then, I delve into it and find out everything I can. Sometimes I buy their work, read about them, or even try to meet them in person.I have this antenna and just pick things up from my surroundings, whether it’s conversations I overhear on the street or a note that’s lying around somewhere. I process all that information and then, through association, link things together to generate something new. And the hardest part in all of that is letting go of the fear that you might not be able to come up with something. Or trusting that a concept that pops up in just a couple of seconds is worth pursuing.I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work. It's an incredible feeling to know that I produced something that surpasses my expectations, and I cherish these moments. They're unpredictable and can't be forced, but they keep me hungry for more.”

And then comes the moment of presenting that great idea to a client. Do you welcome or loathe feedback?EK: "I don't show my ideas to others until I'm completely satisfied with them. Then, after getting some feedback, I might make some small changes, refine the idea, but once it's finished, nobody can change my mind about it.&nbsp;Creative people who are successful can be a bit selfish or even a bit of an asshole but sometimes that's necessary. The creative process is inherently fragile, so I am mindful of that when collaborating with others. However, when it comes to standing up for my ideas and defending my work, I will fight for what I believe in. This doesn't mean being rude or unpleasant, but rather being assertive and confident in my vision.”

Speaking of a tense situation. How do you look back on the controversy following the ‘Destroy my face' project? (ed. Kessels designed an installation featuring ramps adorned with digitally altered images of surgically enhanced faces that were later damaged by the skaters who rode over them. Two young women initiated a petition requesting the organizers to remove the artwork.)EK: “I spent a year working on this project. I did extensive research, consulted with cosmetic surgeons. A team of roughly 100 people saw the project before its public release and no concerns were raised. There was never any red flag, so I was quite shocked when it suddenly exploded. It was very intense and for about four to five days I just stayed home, curled up under a blanket, watching National Geographic. But once the initial shock passed I wanted to take action. I reached out to the young women who started the petition but they didn’t want any contact. Under pressure of an American sponsor the work was removed but if anything the whole thing has motivated me to continue creating and pushing boundaries.”&nbsp;<blockquote><h1>“I'm addicted to the thrill of generating some awe-inspiring idea: once or twice a year, I'm genuinely stunned by my own work.”</h1></blockquote>

How do you push those creative boundaries?EK: “You have to keep taking deliberate turns in your thought process. Purposely make a mistake. Enlarge something or make it smaller. Turn something around or upside down. And have a beginner's mindset. Every professional started out as an amateur and it’s good to return to the kind of spontaneity and naivety that you once had.Sure things can go wrong, but what do you have to lose? You might hit a wall but then you just turn around. For instance, we once had a small assignment from a school in Den Bosch where they had a huge problem with garbage on their campus. And instead of solving the problem, we made it worse. There were plenty of trashcans on site but nobody bothered to use them. So we put a sign on them, which read ‘trash only’ and made it difficult to actually throw stuff in them. We put a fence around one and placed another one high up in a tree, which could only be reached with a ladder.”&nbsp;

Can the advances in technology help push our creative boundaries?&nbsp;EK: “Technology and all those tools are fantastic, but their value depends on what you do with them. There are always a few pioneers who make something unique or worthwhile using new technology, followed by others who produce uninteresting content. I remember when YouTube came up and all these companies insisted on having a video on YouTube. It was ridiculous, everyone was doing it and those videos had zero impact. Or take the opportunism and hype that came with things like virtual reality glasses: they’ve been around for two decades now and still haven’t caught on. The fact that there's a bit of a buzz with the metaverse now is just sad, with a commercial company feeling the heat. Take NFTs: the concept behind them is super interesting, and some people have made a real difference with them. But then the masses came along and ruined it all, and it became about quick money and clichés. Ultimately, it is individuals who can make a difference, and those with exceptional skills are becoming increasingly valuable as automation becomes more prevalent.”

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Erik Kessels (1966) is a Dutch artist, designer, and curator, known for his work in photography, advertising and publishing. He the co-founder and creative director of KesselsKramer, an independent communications agency based in Amsterdam. Kessels is a prolific artist whose work has been exhibited at galleries and museums around the world, including the Museum of Modern Art in New York, the Victoria and Albert Museum in London, and the Stedelijk Museum in Amsterdam. He is best known for his work in the field of photography, specifically his use of found photography, and to date has published well over 100 books. A conversation with a modern-day Renaissance man.

ERIK KESSELS: PERSONALITY OVER PORTFOLIO

CREDITS: Photo by Renata Dutrée, Look by Edwin Oudshoorn.What does your daily creative practice look like?NU: “I typically wake up very early and begin working right away. I advise against reading emails in the morning because it often leads to you spending time doing tasks that other people have requested of you. Instead, focus on a project or task you are interested in or have devised yourself.&nbsp;I establish a comprehensive work schedule for my significant projects, exhibitions, and clients. This approach gives me stability and structure, allowing me to work consistently and with focused attention.I reserve the end of the day as a time for inspiration. This is when I like to read, sketch, and reflect.”&nbsp;How important is the physical place of work for you?NU: “The environment where I work is essential to me. I have set up my office on the second floor of my house, a peaceful and well-organized space where everything has a designated place. I maintain a clean desk policy in my office and throughout my entire home, so I can avoid any distractions. I even covered the windows with a semi-transparent foil to minimize distractions and fully concentrate on my work to maximize productivity.”

How do you encourage creativity when working with others?NU: “To encourage creativity, I involve everyone in my vision as much as possible. I clearly communicate the end goal and instill the belief that it is achievable. I ensure that everyone understands their role and how it fits into the bigger picture. Ultimately, I aim to create an environment where everyone can shine and contribute to the project's success.” What’s your number one piece of advice?NU: “Start your projects as early as possible. What's done is done. Good preparation is really half the work. There are no surprises, just bad planning.”

How important will creativity will be in the future?NU: “Crucial. Certainly, with regard to the collective problems in the world, but also for problems in, for example, the government. A fresh creative look leads to new insights. Creativity and solution-oriented thinking and acting are inherently linked. Just as creativity and pragmatics go together naturally: an entrepreneur responsible for his own income sometimes has to develop a creative solution quickly.”&nbsp;With Masterly you (among other things) provide a platform to craftsmen: how do you see the field of work changing as a result of the rapid developments in the field of AI?NU: “Machines are not capable of being truly, autonomously creative. It is always dictated by people. AI is a complement to and not a replacement for. Einstein said: 'If you can't imagine it, you will never create it.' AI helps with 'imagination.' But I still see the real value in the analog, material world. That tangible remains. Craftsmanship and technology are not, by definition, each other's opposites. Reciprocity between them leads to innovation.”

CREDITS: Photo by Renata Dutrée, Look by Edwin Oudshoorn.

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As a curator and independent exhibition creator, Nicole Uniquole merges the worlds of (Dutch) design and business, creating new opportunities for both. Nicole sat down to discuss her daily creative practice, the importance of an organized work environment, how to encourage creativity when working with others, and the future of creativity.

Curator

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

ERIK KESSELS: PERSONALITY OVER PORTFOLIO

NICOLE UNIQUOLE: CURATING CREATIVITY

Curator

BEYOND THE CANVAS: YTJE VEENSTRA ON THE FUSION OF ART, TECHNOLOGY, AND CREATIVITY

ERIK KESSELS: PERSONALITY OVER PORTFOLIO

NICOLE UNIQUOLE: CURATING CREATIVITY

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