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Voor het eerst in lange tijd is er weer regen gevallen in Nederland. Veel mensen zijn daar niet goed op voorbereid, maar sommigen wel. Zij haalden eerder al een noodpakket in huis en vragen zich nu af: mag dat eindelijk open?
“Ik had hier totaal geen rekening mee gehouden toen ik vanochtend in een korte broek en T-shirt op de fiets stapte”, zegt de 33-jarige Max uit Amsterdam. “Toen ik plotseling werd overvallen door de regen kwam ik in de problemen. Natte kleren, kou… wat nu? Tot ik ineens dacht: hé, ik heb een tijdje geleden een noodpakket aangelegd voor noodsituaties. Mag dat nu open?”
Max besloot uiteindelijk het risico te nemen. “Ik heb meteen een deken omgeslagen tegen de kou, een paar kaarsjes aangestoken om mijn natte kleren te drogen en de energierepen opgegeten. Die waren in mei al over de datum, dus het werd sowieso wel tijd.”
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Kids stand to gain from a few bumps, bruises and mud-splatters.
What do America’s earliest restaurant menus teach us about America? “A menu describes what a restaurant serves — but a menu also describes who is being served. They reflect the class, gender, political, technological, and environmental shifts of history.”
In a practice she describes as “ceramic collage,” Debra Broz delves into the world of secondhand decor and kitsch. The Seattle-based artist’s quirky sculptures are made from found figurines, which she cuts and reconfigures into playful hybrid forms. “A lot of times when I look at them, I think about if they were alive, how would they move and how would they operate?” Broz tells Seattle Channel.
In her ongoing series Superorganisms, the artist creates three-dimensional assemblages that toy with the boundary between familiarity and the uncanny. “It’s really important to me that you look at it and your first thought is, ‘That’s a figurine I’ve seen before,'” she says. “And then your second thought is, ‘Wait, that’s something I’ve never seen before.'”

Broz often finds thematic figurines to work into larger compositions, building a jumbled mound of cats, for example, or all-white horses or rabbits. Overall, the finishes and junctions between individual creatures appear natural enough that one might think they were created that way. In the same vein, that precision works wonders in her adjacent conservation practice called Science of Restoration, which specializes in ceramics repair.
Three numbered works all sharing the title “Biblical Angel” will be on view this weekend in Antler Gallery’s booth at the Seattle Art Fair, which runs from July 23 to 26. See more of the artist’s process below in the video produced for Seattle Channel.





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