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Around 2018 Hoogendijk felt an urge to move away from the flatness of photography. The layers that she introduced into her photographs by manipulating the image was no longer enough for her. “I wanted to feel more, make something more tangible. I can only do that in spatial work.” Her sculptures are not however entirely isolated from her photographs. In fact, they come from them. Her The Nudes series of 2018 incorporates the abstract human figures that emerged later in The Ones. The transition from 2D to 3D was therefore a completely logical step for Hoogendijk. But it was not until she was alone in Hoogeloon, during the Covid lockdown of 2020, that she had the time, space and peace to really get to grips with sculpting. 

Hoogendijk wanted to make her delicate designs more robust, so she had them cast in bronze. Working with the Kemner bronze foundry in Cuijk, she made a series of twelve bronze sculptures. She watched in the workshop as her carefully crafted designs were roughly chopped into pieces in order to create a mould. “This is happening to your most intimate work, your figures, the little people you’ve made, with feeling.” To Hoogendijk it was as if she had surrendered her creations to an inferno of violence and brutality. The sculptures were cast in red-hot bronze, but though she felt that they had lost all their brittleness, there had in fact been a transformation. “Suddenly they had become so strong. Once they had cooled they stood there, like sturdy pillars in their collective intransigence.” There is a certain vulnerability in the way the figures in The Ones embrace and support each other, but the monumental quality of the bronze makes them strong. Hoogendijk spent hours working on them, creating the right patina. “I love grinding away at the sculptures at the foundry, with no one and nothing to disturb me. At those moments I’m not thinking about anything else, and I’m as one with my work.”

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