What I liked about this project is that we humans usually put ourselves on top of the eco pyramid, but here I had the chance to put us at the bottom—on the same level as scavengers.The china has a sort of bone-like appearance—the final form makes a strong reference to the original material.I wanted it to evoke bones, but not in a literal way; I wanted to be more subtle. So I looked at bone structure, and the way that it is thin where it can be thin, and where it needs to be thick, it’s thick. And I put this into the form of the Wild series.
Amsterdam-based contributing editor Jane Szita took the train to Ghent–three hours away, but a very different Franco-Flemish culture. While touring Van Everbroeck's house, she took time to revisit Jan van Eyck's 15th-century painted church altarpiece. "Flemish painters' works have a depth of color artists had never achieved before," says Szita. "Ghent was the perfect place for an assignment; one could argue that the city was the birthplace of the modern color palette."