Olaf Van Cleef
| 09 May 2011
Counsellor on high jewellery at Cartier by day, artist by night; Olaf van Cleef gives the impression of never slowing down. His surprising art allows him to unite two loves of his life: jewelry and India. Everything is made possible: Ganesha with a chocolate paper - based diadem, Lakshmi in pastel pink...For the brief time of an interview, Mr. van Cleef let me discover his colourful universe.
- What connections do you have to India?
My education created the first bond. I grew up with Kipling's Jungle Book; I met Mowgli and Shere Khan at a young age. Palm trees and elephants have always been a part of my universe. My family also used to travel a lot: my grand-mother roamed around Asia, my parents lived in Africa...Journeys never scared me. Add to that a certain taste of luxury and love for the opulence of Indian colors. As I was fascinated by the real India, I have toured this country far and wide. It made me realize that I had to drop the European point of view in order to adopt an Indian approach; leaving behind the European in me forced me to reject any kind of judgment. Month after month, year after year, I discovered a different India, deep and fascinating.
- What kind of connection can you establish between your art and India?
Firstly, I work at a firm with a unique link to India and its history of jewelry. Cartier would not exist without the Maharajas. Secondly, I realized that no matter where you go, a temple, an antiquarian, the gods are always covered with jewels. It clicked instantly: I wanted to draw Indian gods in a French way. I did not feel that this would offend the Indian culture in any way as during the 20's and 30's, the high society would come to India in order to buy Indian art inspired by the European continent. One can say that I resume with this tradition by inventing pastel gods. I try to interpret what I know and what I feel. By mixing India to our European culture, I create a unique and out of the world product, which is neither Indian nor offensive.
- Can you describe your first steps as an artist?
I started to paint very young. My father's second wife was a painter, as well as my godmother. I have always been fascinated by art and colors. Art is a never ending discovery. I started as an abstract painter; you can make a lot of money with abstract art but it was not the kind of contact I needed and expected. People, who buy my paintings, hang them inside their personal temples. I found a very peculiar niche market. Joint families with big houses and temples hang my gods on their walls. Real India uses my paintings and my gods for their prayer, I feel honored.
- What can you tell me about your art? What does it mean to you?
A painting takes about 150 hours of work. Little by little, small things are added; a vase, a mouse, a coconut slowly appear on the picture, leading to surprises. I started off with three or four paintings a month but and then the taste of perfection took over. I wanted to become better, I wanted to achieve perfection. It is somehow like a jeweler's work. You need to give time to the time; the picture will grow progressively until it is replenished. Every step of the making is extraordinary; it is always the most beautiful moment. I work from 3 a.m. to 8a.m. and yet, it does not feel like work. My hands move freely, I am in another world, I have never felt alone while painting; it is like a bubble. I exist, I create a new image of myself, inspired by this country I love. Being childless, it is going to extend life, my life. It is my legacy.
- Why did you buy the ground floor of a house in Pondicherry?
Initially, I needed a big space to store my paintings which are scattered all over India. It would allow people who come to Pondicherry to see all my work. I also chose the city because it is extremely dear to me. I feel that Pondicherry is India's most spiritual town and most people do not even know this. Indians come to honor Sri Aurobindo who is seen as India's first fighter for freedom and independence. He came to Pondicherry as he needed asylum and most Indians are aware of that fact. These Indians are my intended patrons: religious, traditional but educated and highly spiritual.
- What are your plans for the next few years?
The 100m2 space, I bought for a permanent exhibition will be empty around 10 months of the year. If people want to use that room for educational, cultural and humanitarian activities, they will be granted free access. The main idea is to use the space for different kind of activities...perhaps for a vaccination camp in a sterile environment or to do yoga in a cool and clean air-conditioned hall! This space is important from a human perspective. People will hear about it, they will come to see for themselves, and they will discover my art at the same time.