Jos Stumpe was born in the Netherlands. He studied Language and Literature and worked for more than twenty years as an independent copy editor and graphic designer, editing policy studies for the Dutch government on topics such as infrastructure for aviation and water management.
After having put his creativity into translating other people’s ideas into word and image, Stumpe felt the need to create something of his own. Initially the medium to realize this became clay. He studied Ceramic Design at The Glasgow School of Art, Scotland, and graduated in 2012.
Having moved from Amsterdam to New York in 2012, he has been exploring other materials, like metal and concrete, glass and steel, to create sculptures, and other media like painting and printmaking, at the National Academy School. They all express his fascination with the interaction between man and nature. In September 2015 Stumpe finished the Studio Art Intensive program at the National Academy School. Since then he works in his own studio.
Studio Art Intensive Program, National Academy School, New York. September 2013-September 2015.
The Fundamentals of Sculpture, National Academy School, New York. September 2012-June 2013.
BA Ceramic Design, The Glasgow School of Art, Scotland UK. September 2007-September 2011.
My inspirations are many; the continuous cycles of systems getting out of balance and finding their balance again, of construction and deconstruction, order and chaos, peace and war; the tensions between man’s lifelong tendency to form metropolises, overtaking nature, and nature’s resistance; the beauty of water and the danger of it, water being the source of life, and water taking life; the lack of water as the source of the chaos the world is in today. This is what inspires me in making art. Sculpting, painting, printmaking, working with clay, is like a refuge where I can process the complexities of the world. As Grayson Perry says in ‘Playing to the Gallery’: “It’s an inner shed in which I can lose myself.”
Dialogue is a major force in creating order out of chaos, and dealing with complexity. In our current world dialogue is desperately missing. I want to create an environment where dialogue is the theme in many ways. Sometimes my work is a political statement about what’s happening in the world, then it is a mysterious amalgam of color and shape that leaves the beholder the space for reflection. And there is always a dialogue between myself and the medium I am working in. It can be my finger print in clay, the movement of my hand in paint, or the chemical reaction between me and the diluted oil paint that results in an image by chance.