j o l a n d e  v a n  l i t h

# MUTTI wo bist du

MUTTI wo bist du? is a layered multi-crossover installation in which van Lith

connects her research into homelessness to the personal loss of
her mother. The title therefore refers on the one hand to her mother
but also to the nickname of Angela Merkel, the former chancellor

of Germany and the figurehead for refugee shelter.

Although it is not customary in our European culture to call a woman

other than your mother that way, this is seen as respectful in other cultures.

The disturbing images that the artist links to the shelter of refugees and

their search for a home are, as we know from her, extremely raw.

All clichés are shown as a gaping open wound. One of the highlights is a

five-meter-high life pole that is made up of collected material from the homeless.
 Van Lith refers to the concept of totem poles; a wooden statue, as made by some

 Indian tribes of the American Northwest Coast. A totem pole can be seen as a sanctuary.

The word totem pole is derived from (o)doodem, an Ojibwe word that means as

much as 'family sign'.


Cardboard, pieces of newspaper, wool, rope, photos, drawings,

van Lith did two years of research and obtained the materials of the homeless.

She immersed herself in their world and connected her own grief to it.

That the connection has succeeded is evident from the understanding

and mutual respect between the artist and the homeless.

It is unimaginably clever how pure the matter has been used

and the pitfall for easy sentiment has been combated.  With her language

skills and audio performance you step into the minds of people from different

cultures, with compulsive thoughts and especially keeping self-reliance proud.

The audio installation works almost religiously and transcendingly.

You feel the powerlessness, see the meagre sleep and still feel a true security.

A mother's heart that is dying a last tear dripping because she leaves her family

 turns red. Thanks to her literary tour de force ''Why I drip tears'' we can understand that.




#MUTTIwobistdu installation height 5 meter @ JEP Paris 2020

Mixed materials: paper, linnen, rope, wood, rubber, tape


#MUTTIwobistdu installation height 5 meter @ JEP Paris 2020

Mixed materials: paper, linnen, rope, wood, rubber, tape




#MUTTIwobistdu installation detail, height 5 meter @ JEP Paris 2020

Mixed materials: paper, linnen, rope, wood, rubber, tape


Istallation ''Le soldat oublie'' height 3 meter

Mixed materials: paper, linnen, rope, wood, rubber, tape

Detail installation ''Le soldat oublie'' height 3 meter

Mixed materials: paper, linnen, rope, wood, rubber, tape



R e
l i t h k w i e

Jolande van Lith is in search of the ''absolute decline''.

 She already worked with old frames

who are consciously battered

 and then brought together with her ​​art.

  In this new project, she continues with old materials; they are painted,

mixed with words or collages,
knowingly perish & deliberately damaged

to carry out her passion for decay. Part of the process is the dissolution

of paper. December 2016 she worked at the Van GoghHuis.
April 2017 she was artist in residence @ Sterrenbos.

2018 #Relithkwie is shown all over the world.

It's about a new world and the intricacy of symbolism,


a project about those who are on the sidelines of society.

Unique is that the exhibition is given shape per location and depending

on current social events who matter to the artist.



Detail view installation #Relithkwie



Installation view #Relithkwie


Detail installation view #Relithkwie


Installation view #Relithkwie



Installation view #Relithkwie @ Armory show New York


Detail view Collab, Collide, Collaps


Installation Future morning awakenings  3 meters


There are plenty fishes in the sea, drawing 20 x 25



Alone among the others. Oil on several layers of paper, 20 x 25


The clown, the farmer and the pigeon. Oil, tape on cardboard, 40 x 50



The farm at night. Oil on paper, tape, wood, 20 x 50



Installation  view #Relithkwie


Installation view #Relithkwie




Packed landscape. Oil & carbon, 9 x 13


The white raven, oil on carbon 20 x 30

The skull and his demons. Oil on canvas 30 x 40


The hand that rocks the world. Oil on canvas 40 x 50

The horse her sadness. Oil on wood, 40 x 50



Still life with tassels. Oil on wood, 40 x 50

Yellow landscape. Oil on wood, 10 x 15

Painting my memories. Oil on canvas. 20 x 50.

Still life with pear and crows. Oil on linnen. 30 x 40

There was a blue sun and a strange creature. Oil on canvas 40 x 50

Cross the line. Collage, drawing. 30 x 40

The world is a not a love song. Collage, drawing. 30 x 40

The lane with rising sun is far gone. Collage, drawing 20 x 28


So you became a woman. Collage, drawing, wood, 20 x 28


The garden of Evil. Collage, drawing, 40 x 50


It's a foreign affair. Collage, drawing, 20 x 28

Try to create a world without yellow. Collage, drawing 18 x 24

The complex projective line. Collage, drawing, 20 x 28

Broken II. Installation paper, tape and wood.

The inner quest of the artist. Installation view

The dog can't swim. Installation


Jolande works an average of 1 year on each project,

the quest is just as important to her as the result.

 "In my search for Vincent I found Y O U !"  

is a collaboration with the Van GoghHuis. She was invited

 as ''artist in residence'' in the Van GoghGalerie for this project.

The work is based on the oeuvre of Van Gogh &

the stories people told her about their admiration

 for the artist. Jolande used this as a inner search in her own work,

 she made paintings, pictures and sculptures.

  There is even a poetry novel available she wrote about the project.


So I became a crow and walked away. Collection Van GoghHuis.



Pieta in progress. Sculpture.

Grieving our first born, Oil and charcoal.

The young farmer
, Oil and charcoil.

The inner quest of the artist. Oil on canvas. 40 x 50

The open end. Oil and carbon.

The dunes. Oil and charcoal.


In the soil of his birthground lies the truth. Oil on carbon.

Relithkwie. Mixed media.

I have tried to paint a sunflower but it became a cornfield. Aquarel.

Those who work their land will have abundant food. Aquarel.

The farmer and his sheep.

Church at Auvers.

If the crow is killed the reborn becomes vulnerable. Oil on cardboard.

The crow and the cornfield. Oil on cardboard.

The crow and the cornfield. Oil on cardboard.

Landscape. Oil on cardboard.



Underneath the landscape. Oil on paper.

The forrest. Oil on cardboard.


There's no way out of what I feel inside. Drawing.


No woman can escape being identified with Eve. Aquarel 40 x 50



Portrait for Adeline. Oil on canvas.


Asking forgiveness. Oil on canvas. 40 x 50



I always truly love a woman when I first pursue her. Oil on canvas. 40 x 50

The rape of the inner child is a curse for life


On one of my holidays overseas I heard a story about a

little girl who had been abused and locked away

because she stole a leaf of bread.

Her father hid her in a shed on one of the fields on which he worked.

The shed was for the workers and inside there was

only a table, chair, mirror and toilet.


The little girl was eventually found emaciated

and in a state of hallucination.

She passed away one day later, leaving nothing more

than her little slippers under the table.


I went to visit the shed of only 1 by 2 meters.

The fear and abandonment were tangible, oppressive

but strangely enough, also serene.

Everything was completely intact, just as it had been left.

Even the little slippers, half disintegrated.


Later I discoverd in my research that the offender

had experienced the same treatment in his own youth.

He was punished by his father at a young age and

locked away for the stealing the neigbour's meat.

He almost didn't survive.

Several weeks after the death of his daughter

he commited suicide.


The perfect image of beauty the model stands naked for all to see.

Her face porcelain and doll-like in its beauty.

Flawless. Emotionless.

The walls are too close.

Yet all she sees is emptiness.

Where was Jesus when she called his name?

Startled faces with dead eyes stare at the crown of thorns that is her cross to bear.

Her stomach torn like a wound that thread may cover if she chooses to hide.

But it’s cold inside.

Who seeks her soul beneath her makeup will see

the gaping hole as dark as mascara.

As beautiful as night seductive as the devil.

Her golden stiletto, as shimmering and fabulous as a boosted ego at the end of the night.

Its other half lays abandoned on the floor, like the inner child.

No wine. No beauty.

No delicious flirtation can soothe the tears of the innocent girl.



Jolande van Lith

The rape of the inner child is a curse for life. Aquarel 20 x 28



Leaving nothing more than her little slippers. Aquarel 20 x 20





The crisis is for those who can afford it. Aquarel 20 x 30


This empty room. Aquarel 10 x 15

A table and a chair. 20 x 20

The mirror. 20 x 28


Tonight I will be haunted by the rhythm of your beating heart. Aquarel  40 x 50

Emaciated and in a state of hallucination. 60 x 80

This empty room II. Aquarel and charcoil 40 x 50

    You have become my favourite enemy. Aquarel 30 x 40


This madness is alienating human kind. Aquarel 30 x 30



Christus Corpus Crucifix

If love is a demon rejection becomes a saviour. 80 x 100



Burn my sins to ashes drown me in holy water. 80 x 100

There is a void where happiness once resided. 80 x 100

Who can comfort us disrupted enviroment
. 80 x 100




They brought Him down to his grave. 80 x 120


Christ crowned with torns. 80 x 120


Hapiness tainted with regret. 80 x 120


Love is my religion. 80 x 100. Collection Durles.




Jezebel hiding at the graveyard. 21 x 29.





Portae Lucis. 21 x 29





The tree of ancient rituals and lost souls. Collection Museum Malaga.





''Memoires de Jeunesse'' a drawing project about childhood.



The portrait of my childhood. Drawing 15 x 20



Nothing can replace a mother's love. Drawing 15 x 20



Fathers seldom say "I love you", though the feeling's always there. Drawing 15 x 20


Mommy, Mommy, look! I picked you a beautiful flower. Aquarel 15 X 20


I will battle my grief until it subsides into remembrance. Aquarel 20 x 30



Let's cut the cake and have some fun. Aquarel 20 x 28


With my last breath I?ll will wishper your name. 15 x 19


Paranoia Influenza


"This exhibition is about a new and modern pestilence.

Madness, fear and danger contaminate the planet and its inhabitants

alienating human kind.

This provocative series serve as windows into the souls of the contaminated population.

Each portrait tells an individual story, covering topics as culture,

religion and modern politics.

Look closer to unveil the world mirrored in their eyes."



The victims of World War III. Aquarel 30 x 30



How could you ever leave me alone? Aquarel 30 x 30

Honesty is a fucking luxury. Aquarel 30 x 30




With my eyes closed I still can see you. Aquarel 30 x 30





Playing with fire. Aquarel 30 x 30    



My worst fear came true. Aquarel 50 x 70



Is Kadaffi the new Anti Christ? Aquarel 50 x 70



Give the people what they want! Aquarel 50 x 70



The importance of lost memories. Aquarel, inkt & acryl




Alone and together. Aquarel  2 x 15 x 15

@ 2 0 1 6  J o l a n d e  v a n  L i t h