Charles Eyck and ‘his’ Curaçao: a colourful reflection at SCHUNCK Glaspaleis
What did Curaçao mean to artist Charles Eyck – and what did he mean to the island? That question is central to the exhibition Aan de andere kant van de oceaan (On the Other Side of the Ocean) at SCHUNCK Glaspaleis, which brings Eyck’s Curaçaoan period (1948–1953) vividly back to life.
Art historian Jan Gulmans dove into the archives and the exhibition and wrote a richly illustrated article for the Antilliaans Dagblad. You’ll find the essence of his story below.
Labour panel
The exhibition shows how Eyck wove the colours, people and landscapes of Curaçao and Bonaire into his work. At the same time, SCHUNCK presents contemporary perspectives through works by Rinella Alfonso, Kevin Osepa, and guest curator Tirzo Martha.
A highlight is the ‘Labour Panel’, which Eyck himself once called his best work. This colourful six-part piece portrays the labour force of the Dutch Antilles and is now presented as an immersive video installation by Omar Martha. SCHUNCK also displays a tile tableau originally made for the Sphinx factory in Maastricht (1953), recently salvaged and restored thanks to former mayor Gerd Leers. Traces of Eyck’s work on Curaçao also appear in Martha’s documentary, with contributions by art historian Monique Dickhaut and Judaline Cijntje, director of The Curaçaosch Museum.
With about 70 works – including paintings, ceramics, drawings, and documentation – guest curator Tirzo Martha created a coherent and layered overview. His selection reveals not only the artistic, but also the human and cultural connections: Eyck as an artist, a traveller, and a bridge-builder.
The exhibition and accompanying publication shine a light on shared heritage between the Netherlands and the Caribbean part of the Kingdom. Or as Gulmans writes: “Shared heritage is one of the bridges between our countries, each on the other side of the ocean.”
Read the full article from the Antilliaans Dagblad: