EKWC / European Ceramic Workcentre

Wednesday introduction of a resident: Studio Joachim-Morineau

A slowly rotating platform, a mechanic arm holding a reservoir for slip or glaze, a nozzle to dose the dripping liquid, gravity, cohesion, single drops turn into rivulets of clay trickling down the wall of the mould, converging at the bottom. The results are always different despite the uniform procedure. Brittle open structures struggling to materialise or decorative patterns that hover somewhere between industry and craft, a palpable tension that lends the objects their strength. At EKWC, Carla Joachim (FR) and Jordan Morineau (FR) enhanced the durability of the ceramic objects and improved the quality of their Moca tableware, which they will now launch as a separate brand. Meanwhile, they created a series of ceramic mirrors for Masterly Milano in collaboration with Catawiki, platinum lustre on a deep blue glaze, the surface floating like some futuristic portal to another dimension, and somewhere in the distance the reflection of a puzzled smile.

Twee nieuwe leden voor de Raad van Toezicht van het EKWC
25 september 2024

Met ingang van 1 oktober verwelkomt het Europees Keramisch Werkcentrum (EKWC) twee nieuwe leden in de Raad van Toezicht: Lucienne van Dijk en Marcelle Hendrickx. Beiden hebben ruime kennis van het brede culturele veld en van belangrijke thema’s als duurzaamheid, maatschappelijke verbondenheid en ondernemerschap. Lucienne van Dijk is ondernemer binnen het werkveld financiële dienstverlening. En tevens docent en vakcoördinator bij de accountantsopleiding aan de Vrije Universiteit in Amsterdam. Marcelle Hendrickx is een ervaren bestuurder in het publieke domein en op dit moment wethouder van de gemeente Tilburg.

Met de aantreding van Lucienne van Dijk en Marcelle Hendrickx tot de Raad van Toezicht van het EKWC, bestaat de raad uit 5 leden met verschillende expertisegebieden. De nieuwe leden houden samen met Irene Fortuyn, Tet Reuver en Anne Wenzel toezicht, geven advies en vormen een klankbord voor directeur Geertje Jacobs.

Geertje Jacobs:
“Het Europees Keramisch Werkcentrum, of EKWC, is het internationale artist-in-residence-programma en research centre voor keramiek. Sinds 1969 is het een niet weg te denken instituut voor experiment, onderzoek en innovatie, waar kunstenaars, ontwerpers en architecten uit de hele wereld naartoe komen om hun artistieke praktijk en technische kennis te verdiepen. Om die aantrekkingskracht te behouden en te versterken staat het centrum de komende jaren voor een aantal mooie uitdagingen. In deze fase van doorontwikkeling zijn wij dan ook extra verheugd deze twee nieuwe raadsleden met ruime ervaring en de juiste expertise te mogen verwelkomen.”

Lucienne van Dijk:
“Het is een groot genoegen om met mijn brede financiële kennis, mijn ervaring in een postacademische onderwijsinstelling en mijn gedrevenheid om organisaties verder te ontwikkelen een bijdrage te mogen leveren aan de verdere professionalisering van het EKWC. Als inwoner van Brabant met passie voor kunst en cultuur wil ik mij inzetten als klankbord voor de directeur en haar team. Op deze manier wordt de schoonheid van het EKWC verder uitgebouwd en het centrum nog beter op de kaart te gezet. Binnen de RvT richt ik mij vooral op de financiële gezondheid en het risicobeheer.”

Marcelle Hendrickx:
“Ik ben blij én vereerd dat ik als lid van de Raad van Toezicht een bijdrage kan gaan leveren aan het verder brengen van het EKWC. Met mijn lange ervaring in het brede politiek bestuurlijke krachtenveld en mijn liefde voor kunst & cultuur hoop ik het EKWC ook meer stevigheid en vanzelfsprekendheid ín dat krachtenveld te geven. Een florerend EKWC is belangrijk voor de kunstensector, het kunstonderwijs maar ook voor het internationale bedrijfsleven. Keramiek kent immers vele toepassingen.”

Wednesday introduction of a resident: Nora Normile

Chunky flowers adorn a set of cross-barred windows that will be charms in a gigantic bracelet. At EKWC Nora Normile marries the plastic aesthetics of girly toys like Polly Pocket with religious architecture, pattern and decoration. Dollhouse details blown out of proportion may appear clunky at first, but Normile’s thoughtful use of glazes and texture opens up space for the imagination. A surface that looks and feels like sandpaper belies the girly cuteness, a delicate drawing on a warped tile suddenly signals refinement. It seems such a specific, personal sphere that Normile refers to, firmly rooted in her experience of girlhood, but her play with scale and style invites wider reflections on the influences that inform our self-image. There’s a very relatable tension between expectations and the desire to escape them. And while a recurring diagonal grid suggests ubiquitous limitations, the sheer joy of making approaches something resembling freedom.

Gentle reminder Test Case # #
Saturday 28 september 2024, 2 till 5 pm

You are cordially invited to Test Case # # . On Saturday afternoon, September 28th, from 2 to 5 pm, the EKWC will open its doors to visitors. This event will feature the resident artists showcasing their work in process. You'll have the opportunity to visit the studios and workshops and to meet the artists. Participants who have recently completed their residency will show their works in a presentation.

Participants Test Case # #
Jonathon Anderson (CA), Shary Boyle (CA), Aldo Brinkhoff (NL), Benton Ching (AU), Emma Clarke (UK), Margeaux Claude (US), Gabi Dao (CA), Álvaro Escalona (ES), Daniel Giles (US), Anthony van Gog (NL), Lilian Kreutzberger (NL), Lucas Lenglet (NL), G. Lucas (GB), Sithabile Mlotshwa (NL), Sara Möller (CH), André Pielage (NL), Arnaud Rogard (BE), Lou Lou Sainsbury (UK), Kate Strachan (US), Ya-Wen Tang (TW), Jonas Vansteenkiste (BE), Nina vd Ven (NL), Yen-Ran Wang (TW), Raphael Weilguni (DE),Bel Ysoh (BR)

Image: work by

Wednesday introduction of a resident: Jae Eun

Coming across Jae Eun’s giant sea snail shell, you might initially connect it to a sense of security, a sense of home. The association of carrying your house with you can shift its meaning to travel or migration, to being at home with yourself, even among strangers, or being forced to leave by hardship or danger. But a snail’s slow pace doesn’t rhyme with leaving everything behind. It does speak of perseverance, which in turn lends something sad to the empty shell. The spiral shelter Eun built at EKWC is large enough for a human guest to temporarily inhabit the body whorl and tell the story of their wanderings from within. What have they endured? Where have they been? During a performance, Eun hid inside the work to whisper, shout and chant his story in an evocative language that relates emotions rather than his biography.

Eun hand-built his large-scale works using the coiling method. He also hand-built and press-moulded an array of test tiles for his glaze research — testing both for single and twice-fired possible firing paths. He also used the large extruder to produce long tubes which he later joined and added to with hand-built elements. A balancing of the works’ resonance, portability, and strength were all pivotal to the planning, testing and ex*****on of each of the works.

Thanks for the kind financial support from Het Prins Bernhard Cultuurfonds.

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INVITATION TEST CASE # #
September 28th 2024, 2 - 5 pm.

You are cordially invited to Test Case # # . On Saturday afternoon, September 28th, from 2 to 5 pm, the EKWC will open its doors to visitors. This event will feature the resident artists showcasing their work in process. You'll have the opportunity to visit the studios and workshops and to meet the artists. Participants who have recently completed their residency will show their works in a presentation.

For example, Aldo Brinkhoff (NL) shows one of the results of his research into decay. Brinkhoff has been working on a material that disintegrates within a predetermined period of time. During her residency Margeaux Claude (US) researched the use of gypsum as a ceramic element. With the aim of being able to lower the firing temperature. Benton Ching (AU) is working on Soniferous Totems; environmentally activated instruments. Sithabile Mlotshwa (NL) has a mission: to map the entire Dutch colonial footprint in a gigantic tile tableau. She is currently investigating how to capture this in ceramics.

During this day we also present the travelling installation Archives at Risk: Seeking Shelter; Guus Kusters.
With the campaign Archives at Risk: Seeking Shelter, Network Archives Design and Digital Culture (NADD) draws attention to the uncertain future of designer archives for Design and Digital Culture.

Participants Test Case # # :
Jonathon Anderson (CA), Shary Boyle (CA), Aldo Brinkhoff (NL), Benton Ching (AU), Emma Clarke (UK), Margeaux Claude (US), Gabi Dao (CA), Álvaro Escalona (ES), Daniel Giles (US), Anthony van Gog (NL), Lilian Kreutzberger (NL), Lucas Lenglet (NL), G. Lucas (GB), Sithabile Mlotshwa (NL), Sara Möller (CH), André Pielage (NL), Arnaud Rogard (BE), Lou Lou Sainsbury (UK), Kate Strachan (US), Ya-Wen Tang (TW), Jonas Vansteenkiste (BE), Nina vd Ven (NL), Yen-Ran Wang (TW), Raphael Weilguni (DE), Bel Ysoh (BR)

Image: Work in progress by Aldo Brinkhoff (NL)

Wednesday introduction of a resident: Julian Vogel

Crescendo is an optimistic ceramic song that starts with a whisper and builds up to a jubilant finale. Over one hundred ceramic tubes of various lengths are hanging from a metal rail winding towards the sky. You can walk among the tubes, touch them, listen to their sound; they form a scenography for performers and audiences alike. The rail with its support beams and guy-lines are reminiscent of construction in the circuses where artist Julian Vogel usually performs his virtuoso acts. Up close, you see the glaze inside the tubes that were made at EKWC. From a distance, they look like vertical bars of different hight to indicate the volume of a recording. At the same time, they relate to the ground, rising and falling like a melody freely floating in the air, mingling with the music played in the installation, children’s voices, the sounds of the city.

This project is financially supported by Albert Koechlin Stiftung.

It is produced by Les SUBS Lyon.

Technical and artistic support: Laurent Gauthier, Roman Müller, Nataliya Zuban

www.julianvogel.ch
instagram:

Wednesday introduction of a resident: Colin Chudyk

Textile moulds are unpredictable. You can choose the most rugged fabrics, use computer programmes to engineer the most stable shapes, but once you pour in the slip, its liquid weight will always find ways to break the mould or expand it in unexpected directions. This autonomous aspect of the process strongly appeals to architect Colin Chudyk, who recognises the immense tension between a desire to control things through rational calculation, and the opposing tendency to escape from domination. Look at those seams, the imprint of the fabric: the work carries the marks of its outer limits. Glazes emphasise moments of hesitation. Cuts in the volume reveal the use of straps and ties to hold the mould together or force it in a particular configuration. Chudyk is tightening his grip on fabric and form, trying to contain the clay – or constantly challenging it to defy all efforts of constraint.

www.colchu.com


The creation of this work was made possible thanks to the financial support of the Conseil des arts et des lettres du Québec and Canada Council for the Arts
( .council)

Photos 2 and 10 by René van der Hulst ()

Wednesday introduction of a resident: Anja Cecilie Petersen

Romance is scripted, this is nothing new, but the TV show The Bachelor takes it to a different level. In a piece resembling the kind of classical fountain that couples stand in front of tossing coins in the water for wishes to come true, artist Anja Cecilie Petersen mocks the four levels of love from ‘starting to have feelings’ to ‘I love you’. Horsehair replaces water as a symbol of the carefully staged and manipulated dates — but honestly: how do you recognise authentic feeling? How to tell if anything is real? In a separate work, Petersen slip-casted porcelain to form elongated gothic arches, the perfect shape to carry sound. This perfection is gone once the pieces are fired — consider them a score interpreted by the kiln — but they still sound like bronze bells. They converse with a final piece of long extruded strips that flow and fold like ancient script.

The sound pieces will be part of Petersen’s work during the Make Sound Residency at in Malmö, Sweden.

The fountain will be presented as part of the exhibition ‘The Only Way Out Is Through’ at in Copenhagen, Denmark.

The production of the sound pieces is supported by Nationalbankens Jubilæumsfond ( )

www.anjaceciliepetersen.com

Final Call for Applications

The EKWC invites artists and designers of all variety, who have worked with clay before or have never worked with clay before, to take on the ceramic challenge in a twelve-week residency. What we need is an imaginative plan, an experimental attitude, or a strong concept; something you would like to achieve in twelve weeks that would not be possible without the facilities or advice of the experts at the EKWC. This call concerns residencies starting from the second quarter of 2025 until the first quarter of 2026.

The deadline for the application is the 31st of August 2024.
For more information about the registration procedure, visit our website www.ekwc.nl

Work by
Photo by Ad van Lieshout

Wednesday introduction of a participant: Adrien Chevalley

One of Adrien Chevalley’s studio wall is crawling with ceramic life: plants, snakes, birds, worms and crayfish in a bas-relief commissioned by a Swiss museum. There’s something rigid about the composition, an element of control contradicting its fluidity, but the violence it contains reveals itself more readily in a separate set of tall free-standing flowers. Produced in the extruder, equal in diameter, their stems borrow some individuality from small leaves or nodes that make them even more restraint. They are crowned by a single flower or fruit, large and abundant, their freedom in awkward tension with the industrial stems. Capturing the intense unease caused by human domination over nature, Chevalley also suggest a future reconciliation. High against another wall is a large bug, clad in some kind of space suite and helmet. Confusingly, it only becomes a fellow creature when it appears as truly alien – or a saint.

Chevalley employed a variety of building techniques while in residence — including extruding, hand and slab-building. Through explorations of EKWC’s glaze library, he became interested in celedon and ash-based glazes and, so, pursued reduction firing. His wall-hanging and floor-sitting sculptures were often assembled from multiple, interlocking and highly detailed parts — and the dolapix slip added to his tile works provided a fluidity and natural-ness to the figures and forms.

www.chevalleyadrien.com

Reminder Deadline Call for Applications

The EKWC invites artists and designers of all variety, who have worked with clay before or have never worked with clay before, to take on the ceramic challenge in a twelve-week residency. What we need is an imaginative plan, an experimental attitude, or a strong concept; something you would like to achieve in twelve weeks that would not be possible without the facilities or advice of the experts at the EKWC. This call concerns residencies starting from the second quarter of 2025 until the first quarter of 2026.

The deadline for the application is the 31st of August 2024.
For more information about the registration procedure, visit our website www.ekwc.nl

Work by Jea Pil Eun | Photo by Ad van Lieshout

Wednesday introduction of a participant: Karla Kaper

A ceramic tiger rug, a cayman lamp stand, an alligator head: in a spontaneous series of sculptures Karla Kaper takes aim at the mindless cruelty towards exotic animals that was so common when she grew up – some time ago now. But has anything really changed? We may no longer decorate our homes with tasteless trophies but we still go hunting for ‘unique’ experiences halfway across the globe. Other pieces Kaper made during her EKWC residency are more abstract, more in line with preceding works, like the Michelin Men that echo previous Warriors, now grown to contemporary body standards. Robed figures, arms extended as in benediction, stand like pawns posing as kings or pontiffs. A 360° rotation of someone’s profile is a ceramic version of the glass portrait from the same mould. Overlooking it all is a bust of a classical movie star with her wistful, fiercely independent gaze.

Using a variety of clay-bodies, Kaper used press-mould and hand-building techniques to achieve her sculptural work. She often painted with underglazes and, overtop, used transparent and pigmented glazes. The resulting works are both wall-hanging and free-standing which, in some cases, relate to previous works developed in glass.

Wednesday introduction of a participant: Samuel Sarmiento

The ceramic works of Samuel Sarmiento are first of all objects. Depicting myths and literary stories from across the Caribbean and South America, they do so as sculpted surfaces that create their own boundaries. They are self-contained worlds still connected to everything around them. History is palpable, bodies emerge from bodies emerging from bodies – or do they sink back into time, towards an origin we shall never know? There are forests, seas, cities, animals, trees, goddesses and humans and meaningful scenes. Humans tell each other about the universe, how it came to be; they pass on secrets of death and procreation together with truths of conflict and suffering – and a hope of redemption. As Sarmiento’s works capture a vibrant oral tradition, they also encapsulate the act of storytelling itself. At EKWC, he focused on making larger tableaux that allow him to expand individual scenes into intricate epic murals.

Sarmiento built his works using slab and hand-builing techniques. He used both underglazes and glazes much like paint, and added drawn and written elements using underglaze pencils. In second and third firings, gold lustres were added to details on top of glossy glazes.


www.samuelsarmiento.org

Wednesday introduction of a participant: Pauline Agustoni

Connection can be as simple as pressing a few strings of clay together. At EKWC, Pauline Agustoni used this principle to form a series of intriguing objects that seem to lift themselves up from the ground. Their shape is determined by moulds: heavy vessels that tend towards auton-omy with their lime-white interior and coarse decoration. Agustoni extruded fine, straight-ribbed cords of clay that she draped into the moulds in inverted arches, weaving them in increasingly intricate patterns and connecting the strands at various nodal points with a push of a finger. Once fired, the works stand on their own like domes turned upside down. The construction pro-cess is their first appeal, the chance distortions, a play of light and shadow, intimacy with the material, celadon glaze marking the indentations. And then the works begin to move, they be-come a dance or a gathering of sorts in joyous communion.

Agustoni’s vessel-like moulds were coiled upside down — from top to bottom — then flipped upright, finished further and prepared for drying. Going forward, each mould will continue to serve as a reusable tool for the making of further thread-like forms. Multiple 3D-printed extrusion plates were also designed and printed at EKWC, allowing for and creating a variety of shaped threads to drape and pattern within the moulds — and Agustoni spent considerable time researching and experimenting with different celadon and ash-based glazes for reduction firing.

This residency was in-part kindly supported byIkea Foundation Switzerland.

instagram:
www.paulineagustoni.com

Pieter van der Schaaf (NL)

Architectural structures are punctured by cables and plumbing to deliver power and running water. These systems support the fulfilment of basic needs like food, hygiene or communication, and largely determine a building’s usability beyond shelter. Meanwhile, the wires and tubes form a parallel world of energy and circulation that human occupants thoughtlessly depend upon. Pieter van der Schaaf puts a spotlight on these circuits. Exposing, disturbing and extending them, he creates a zone of tension and transition where the building’s systems and everyday life encroach on each other. At EKWC, Van der Schaaf took the process further by turning the circuit into an autonomous installation. He produced an impressive number of pipes, bends and junctions that may connect to form a functioning system of yet undetermined purpose. With their lively, uneven reduction glazes the pipes resemble archaeological remains – or fossils of an ancient species that might come back to life.

www.pietervdschaaf.com
instagram:

Wednesday introduction of a participant: Bryony Dunne

Exploration is about traveling and bringing back observations to the people who stayed at home. It is also about charting the world to gain wealth and control. Somewhere on the crosslines of domination and migration, filmmaker and visual artist Bryony Dunne zooms in on the relationships between humans and their fellow creatures. At EKWC she made a series of work based on the mediaeval book Topographia Hiberniae. In this account of a journey to Ireland, the author Gerald of Wales described how barnacle geese were born from goose barnacles. The myth explained the eggless reproduction of the migratory birds, that hatch in Canada – a country unknown to Europeans at the time. Dunne amalgamates the myth with the story of a US space X rocket that exploded over the Atlantic in 2015. A 32-foot-long part of debris washed up at the English coast, covered in barnacles that drifted with the same ocean current.

This residency was in-part kindly supported by a Visual Artist Bursary Award from the Arts Council of Ireland.

instagram:
www.bryonydunne.com
Photo 10 credits: Su Melo

Wednesday introduction of a participant: Anna Lotte Peperkamp

Anna Lotte Peperkamp moulded a weathered tile removed from her parent’s roof, turning it into a decorative item with the traces of wind and rain accentuated by colourful glazes. The tiles are related to her job as a zinc worker, just like the other work she made at EKWC. Up on the roof, she occasionally comes across ceramic chimney pots, installed to increase draft and prevent rooks from nestling on the smoke channel. Lamenting the replacement of the ceramic pots by cheaper plastic or aluminium versions, Peperkamp focussed on the techniques to reproduce the pots. She tried to throw them but soon realised that plaster turning and moulding were more efficient. With their warm amber lead glazes and floral decorations, the chimney pots become ornaments that symbolise the pots history, craftmanship and the attention to detail people used to have, even towards objects that aren’t necessarily visible.

Wednesday introduction of a participant: Agate Kalnpure

In a world of integrated economies, the seasons lose their particular flavour. Strawberries in winter, cabbage in spring – everything is available, but the taste is not the same. You can’t buy the yearning for those first ripe blackberries to appear. Landscape designer Agate Kalnpure drew upon childhood memories of eating with the seasons at her grandmother’s home to create a series of dishes meant to serve only distinct local vegetables. Without greenhouses and global supply chains, they might only leave the cabinet a few times a year. With their rich colours and detail, the dishes point to dynamics of scarceness and plenty. No one really longs for the last wrinkled carrots of winter, but year-round tomatoes and delicious exotic fruits come at a heavy price as well. Kalnpure’s dishes are accompanied from a set of spoons that represent Nordic summer berries, beautiful and impractical at the same time.

Wednesday introduction of a participant: Su Melo

A sculpture in an arboretum, corresponding with the chestnut and the walnut trees, chatting with the sun, the rain and the wind, with the birds, the squirls, listening, shivering, whispering the chance encounters with leaves and branches. It’s a very physical object, essentially human, a body of bodies, skin, hints of limbs, bellies and backs and faces, fading into the walls or coming to the fore, eyes and ears, channels between outside and inside. The quiet, secluded space, open and closed, gives the odd sensation of shutting out the world to better let it in – the mediating ceramic trunk, cave, hideaway, sheltering and welcoming all life. Perhaps with time, mosses or moulds will adorn the throne, algae and other organisms might grow on the work’s surface, inviting it to blend in, creature among creatures, and yet remain this puzzling, pensive visitor making itself at home.

The sculpture is part of the open-air exhibition "Heksenkruid – decolonising botany". Twelfth edition of Beelden op de Berg taking place at Belmonte Arboretum in Wageningen. From 1st June until September 15th.

www.su-melo.com

CALL FOR APPLICATIONS

The EKWC invites artists and designers of all variety, who have worked with clay before or have never worked with clay before, to take on the ceramic challenge in a twelve-week residency. What we need is an imaginative plan, an experimental attitude, or a strong concept; something you would like to achieve in twelve weeks that would not be possible without the facilities or advice of the experts at the EKWC. This call concerns residencies starting from the second quarter of 2025 until the first quarter of 2026.

The deadline for the application is the 31st of August 2024.

For more information about the registration procedure, the costs or to apply, visit our website, EKWC.NL

Photo: Studio view (US)

Wednesday introduction of a participant: Benny Nilsen

Sound art has long freed itself from music and soundtracks, but for composer and sound artist Benny Nilsen the distinction doesn’t really matter. He simply works with sounds, using the evocative power of a wordless auditory language. In near and far-off places, Nilsen picks up the humdrum of industry and urban life or captures impressions from nature, to edit the recordings later. At EKWC he cast clay vessels moulded on pumpkins and fungal conks, which he planted in the Oisterwijkse Vennen to record the sounds reverberating inside them. In a way the vessels are like ceramic creature listening in on their surroundings, interpreting the sounds, translating them into their own particular language depending on their shape and material, the thickness of their walls. Nilsen will use the recordings in future sound pieces, just as they were captured or digitally distorted, to summon up a whole new world.

www.bjnilsen.info
photo's by BJ Nilsen

Wednesday introduction of a participant: Vica Pacheco

“You’re looking for Vica? Just follow the sound of the flute!” From behind the kilns comes a somewhat lamenting sound that appears to belong to nature, and sure enough, there’s Vica Pacheco, testing one of her whistling vessels. The slender futuristic instrument creatures she designed in 3D to print and mould at EKWC seem far removed from the pre-Columbian ceramic vessels that inspired them, but they operate on the same principle of air circulated by water moving between reservoirs, or by blowing in the opening. The artist plays them herself, blending their voices with her own in live electronic soundscapes; she integrates them with installations or uses them in performances with dancers playing the instruments while Pacheco sings and composes. During her residency she also created a series of flute vases and four massive whistling vessels with a deeper sound, standing on the flour like mythical studio guardians.

Wednesday introduction of a participant: Marte van Haaster

Beech and pine are companion species; they flourish in each other’s vicinity. Designer Marte van Haaster unites them in a modular shelf cabinet made of trees that met a natural end. The cabinet is commissioned by Schloss Hollenegg for Design, a designer residency in Austria where Van Haaster was invited to work on a proposal. The sustainable forestry employed on the castle grounds resonated with her own practice that seeks to stimulate a more circular use of resources: humans and trees can be companion species too. At EKWC, she made the ceramic supports that fit like puzzle pieces with the shelves and each other in a delicate balance. For the glazes she worked with beech and pine ashes – gathered from her mother’s hearth and the Kannenofen at IKKG in Höhr-Grenzhausen – to emulate the green tiles on the masonry heater in the castle room where the cabinet will be installed.