Denise Hermo shares a glimpse inside her studio during Atelier in beeld: 'It’s a living archive full of unfinished work, failed pieces and traces of past lives.'
‘I grew up in Buenos Aires. The smell of oil paint often lingered in our basement: my mother painted there. I had a small easel next to hers and would mimic her movements. On Sundays, there were family gatherings. My grandmother wrote poetry, my father played the guitar, as did my aunt, who also sang folk songs. That side of art felt spontaneous, loud and chaotic. At home, creating was more of an exercise in discipline and introspection. That is how I learnt that art can unite opposites, yet remains something you want to share. Art was not seen as something lofty, but as a natural part of everyday life.
In 2010, I came to Valencia to study for a term. It was my first encounter with Europe. I spent a lot of time in museums there, and that experience marked a turning point. Buenos Aires is culturally very vibrant, but historically young. Much of its pre-colonial visual identity has been erased or is poorly documented; what followed was often based on imported European models. That realisation raised questions about identity, canonisation and legitimacy. I began to delve more consciously into art history, theory and philosophy. A broad and constantly expanding frame of reference is essential for me to give depth to my practice.'
'When I moved to Brussels about ten years ago, I took up pottery. I learnt the craft from various teachers across the city. What followed was a period of experimentation, trial and error, and a lot of discarding. I find that combination of academic knowledge and a self-taught approach valuable: first you learn to observe, understand and master the craft, and then you have to dare to let go and work again with childlike curiosity.
Living between Brussels and Buenos Aires creates friction, often emotionally charged. Themes such as memory, roots, identity and distance provide the material to work with. For me, creating is a way of giving form to that tension. Then there is family. There used to be two of us; now there are four. Motherhood has opened up an unexpected source of inspiration. Domestic dynamics and family relationships have become narratives that continue to resonate in my work.'
An atelier is never static. Sometimes it is chaotic and full of energy, sometimes quiet and tidy, sometimes almost forgotten. It is a living archive full of unfinished work, failed pieces and traces of past lives.
'My recent work consists of non-wearable jewellery, conceived as small ritual objects. They occupy a space between being worn and being displayed: neither functional nor purely decorative. I see them as vessels of meaning, almost like amulets. The work is rooted in my Latin American background and draws on ancient cultures, craft traditions and ceremonial attire. Most pieces are breastplates or necklaces made of earthenware, combined with brass and textiles. They depict relational dynamics, care, nature and memory. Some pieces make a sound when you move. I find that activation very satisfying: the work speaks not only visually, but also aurally.’
Denise Hermo
Denise Hermo (Buenos Aires, 1988) is an Argentinian designer and craftswoman based in Brussels. Her work is influenced by the ancient cultures in Latin America, as well as tribal art around the world. She approaches each piece attempting to obtain a good balance between old and new, ponder and play, the individual and the collective. She reflects on eurocentrism, mixed identities, female discourses, and the ethics of care. An avid passionate of color and ornament.
