Jolien Müller

Jolien Müller (b. 2001 Leuven, Belgium). 
Your education: Central Saint Martins, Design Academy Eindhoven.
Your discipline: interdisciplinary.
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Can you tell us about your journey into the world of design and art? How did your experiences at Central Saint Martins and Design Academy Eindhoven shape your creative perspective?

My surroundings have always been the source of my inspiration, both materially and socially. This interest manifested in my childhood where I was drawn to the interplay of form and color. Growing up, I knew I wanted to pursue this subject matter more deeply and refine my instincts. Central Saint Martins provided me with an environment that celebrates bold experimentation. The school enables an interdisciplinary dialogue and exchange. Engaging with people, peers, and mentors from various cultural and creative backgrounds that would challenge my assumptions made me grow confidence in taking risks and pushing boundaries, eventually finding my voice as a designer.

Design Academy Eindhoven, following a more methodology-focused approach, taught me to see design as a tool of societal change. It made me observe my surroundings and analyze how they are being reshaped. The school encourages delving into the identity of materials—their physical properties, meaning in society, personal memories, usage throughout time, etc. So, how does our environment reflect the state of our existence as individuals and a community? This is a question that has been crucial throughout my studies. It has made me recognize the power of storytelling through design without limitations of specific media or disciplines, as every story asks for a unique translation. Together, these experiences have shaped my creative perspective into one that values collaboration, exploration, and the profound connection between people and the world around them.

Your work challenges taboos and societal norms. What inspired you to explore these themes, and how do you choose which taboos to address?

My work is deeply rooted in the desire to deconstruct societal norms, especially those that remain unspoken. Taboos reflect collective fears and power structures that have evolved over time. In this way, taboos can be described as a mirror of society—a mirror that does not show the prettiest version, but the whole picture. It reveals the unaccepted parts and vulnerabilities of humankind too.

The inspiration and choice of the subject often stem from personal experiences and observations where I’ve come in contact with these invisible boundaries. I find this realm extremely intriguing as it deals with the intersections of identity. Art became a way to challenge these beliefs and create spaces where these difficult conversations can unravel. Research, conversation, and dialogue guide me through the process and in deciding on the approach to tackle these issues.

My aim is not to shock people but to create a safe space for curiosity and growth, where viewers can confront and perhaps even redefine their beliefs.

Your use of materials such as clay, metal, and glass is quite distinctive. How do you decide on the materials for each project, and what do they symbolize in your work?

The choice of materials and techniques is determined by the narrative of the project and the emotional resonance I aim to evoke. In Peeing Human, for instance, it was important to me to work with materials that both exist in a fluid/malleable as well as solid stage to capture the motion of fluids traveling through your body.

In addition, the shapes and material intersections were inspired by the disconnect I’ve experienced in human-made spaces—in this case, toilets—and ourselves juxtaposing nature and technology. The goal was to reunite mind and body not only as human beings but also in our surroundings. In summary, materials are more than mediums; they become the narrators of the story and guide the dialogue between the artwork and the viewers.

What challenges did you encounter during the creation of ‘Peeing Human,’ and how did you overcome them?

One significant challenge was finding the right balance between realism and abstraction concerning the shape language, as Peeing Human is not intended to be a literal depiction of human anatomy but rather seeks to rekindle a spiritual interpretation of this bodily experience. Therefore, instead of only looking at the factual world, I explored the spiritual body through writing, reflecting, and visualizing experiences and emotions linked to urination.

Additionally, the process of creation felt similar to assembling a body composed of individual cells to form a whole. This presented me with the challenge of solving a 3D puzzle, balancing composition and relations in shape and scale. Whenever I am presented with this challenge, I often become the piece to imagine its scale and direction through my body movement.

Can you share any memorable reactions or feedback you’ve received from viewers interacting with your work?

A lot of people were sharing very intimate and personal stories with me. I remember a woman telling me about her experience of treating herself by drinking her urine and the benefits of urine for skin eczema. Another man shared with me that he watered his plants with his urine, as this would make the nutritional value more suited for them. I was super happy to see people opening up about this subject without any fear and sharing their experiences with me and one another. It truly created a safe space for conversation.

Further, lots of people shared various projects and inventions revolving around excretions, such as poop being used for compost or even plane fuel, which was super inspiring too. I am always happy to hear about another “pipe poopoo fellow.”

A common thread was also that people told me how their urge of having to pee grew while listening to Peeing Human. So, even if people did not share their thoughts directly with me, I hope they can take this idea with them to their next bathroom visit. I don’t want to force people to interact or engage with my work but instead invite them to immerse in this new context as far as they feel comfortable.

What is your ultimate goal as an artist? What message or legacy do you want to leave through your work?

We are all humans and we have so many different experiences of life, but still, we can relate to each other, which to me is one of the most beautiful things about being alive—sharing experiences with people and forming connections.

I want to create spaces that allow this junction and to make people feel more comfortable with the parts of themselves that might have been neglected or even frowned upon. My work promotes body positivity and full acceptance of our humanness. To create a ground for people to share their stories is what drives my work. Eventually, I see storytelling as a way of healing. To me, the conversations around my work are the real change, the real art.

Do you see your work as a form of activism or education, especially in breaking taboos and reshaping societal norms?

With these “big” terms, I like to go back to the root.

Activism stems from the Latin word activus/actus, which means “a doing, to drive, draw out or forth, move.” In this way, I can relate to this term in some way, as my work is supposed to cause change or reform society in its beliefs. However, I don’t see it in a purely active way, as I want the change to come from the people themselves. My work is like a seed that is planted and carried on. It doesn’t just move forward; it spreads in all different directions.

Education comes from the Latin word educare, which not only translates to teaching but to growing and nurturing. Nowadays, the term education is often associated with factuality; however, isn’t sharing individual perceptions a form of growing one’s own perspective?

In conclusion, I can relate and not relate to a lot of terms, but eventually, I would describe myself as a gardener of society, digging in the soil, studying the roots, weeding, planting, watering, growing, and healing.