Art is not decoration, but an instrument of connection
Guest curator Tirzo Martha contributes to On the other side of the ocean, an exhibition in which the work of Charles Eyck and Rinella Alfonso is presented together for the first time.
Martha – visual artist and co-founder of Instituto Buena Bista in Curaçao – contributes his practice-based perspective and experience as a complement to the museum’s theoretical framework. We spoke with him about his role as guest curator, the historical ties between Curaçao and Limburg, and why visitors shouldn’t miss this exhibition.
What is your background as an artist? And how do you view art yourself?
“I see myself as a visual artist, though it’s hard to pin that down to one term or form. Sometimes I’m called a sculptor, but I work with many different techniques, depending on what a piece needs to fully come to life. Art – or rather, imagination – is, for me, an instrument to connect, empower, support, and initiate change.
I like to involve people in my process and my work, because art truly comes alive through contact with the public. A museum without visitors remains silent and lifeless. That’s why I always consider the social aspect in my practice: to make people aware of the value of imagination. People often say you can’t make a living from art, but if you look at how much money and energy circulate in both the art world and business world, you see how important it is. Maybe not always for the maker directly, but certainly for everything surrounding it.”
How did you become involved in this exhibition?
“Through conversations with Fabian de Kloe, artistic director at SCHUNCK, which became increasingly substantive. Eventually, I was asked to join as guest curator. What intrigued me immediately was the intertwined history between Curaçao and Limburg.
Charles Eyck traveled to Curaçao in the 1950s. In the 1960s and 70s, many people from the islands settled in Limburg. These movements reveal a lot about colonial and cultural relations, yet they’re rarely explored in depth. What drove Eyck to the island, apart from the invitation? And what motivated Curaçaoans to move to Limburg? These historical connections deserve deeper attention. My role as curator is to add that layer, from my own experience and context.”
What struck you in the work of Rinella Alfonso and Charles Eyck?
“What I find remarkable is how Eyck’s work changes on the island. It becomes more abstract – his perspective, his approach, his attitude shift. Rinella, on the other hand, shows the reverse: she was born in Curaçao, studied with us at Instituto Buena Bista, and later moved to the Netherlands to study. Her perspective has broadened. She gained a deeper understanding of what her imagination can offer.
Both artists respond to their environment – consciously or unconsciously. You see it in their use of materials, composition, and tone. Their work deepens. It’s beautiful to see them side by side.”
What do you think about the choice to bring them together?
“We had many conversations about that. Initially, my own work was considered alongside Eyck’s, but I felt it would be more interesting to place a young painter next to him. For me, it was important that it be a woman. Rinella is still in the midst of her development. Eyck was already established in his time. Bringing them together creates a dialogue between generations, but also between male and female positions in art history. That’s still unequally represented. This choice hopefully helps to balance that a little more.”
What do you hope visitors take away from this exhibition?
“That they become aware of how perspectives and perceptions can differ. Two people can look at the same thing – a cactus, for example – yet experience it in completely different ways. Eyck may have studied it closely. Rinella might have stepped on it by accident. That difference in experience shapes your perspective and, therefore, your visual language.
It’s also about the relationship between the Netherlands and Curaçao. The intention may be good, but if perspective is missing and perceptions differ, you don’t truly connect. Art makes those differences visible. Curaçao is not a hotel, not a pool, not a beach backdrop. It is a culture, a history, but also a place with many opportunities and future potential. And that perspective matters – not just for the island, but also for the Netherlands. Caribbean influences have been felt in Dutch culture for generations. Art helps to recognize, understand, appreciate, and cherish that connectedness.”
On the other side of the ocean is on view until 14 September 2025 at SCHUNCK Museum.