Not long after I got the news that I was selected to participate at the ceramics fair in Delft, I got another email form the organisation. This time with the question whether I wanted to create a piece to be exhibited in the Vermeer Centrum in Delft, as 1 of 3 ceramic artists, with the theme “thinking of Delft”. Of course I said yes, to this wonderful challenge. I soon knew I wanted to create a lamp.
When I think of Delft, Johannes Vermeer and his contemporary, Anthonie van Leeuwenhoek, immediately come to mind. Both were masters of light, both possessed a keen eye for detail—for Van Leeuwenhoek, the microscopic discoveries revealed through his lens; for Vermeer, the countless details in his paintings, the play of light across surfaces and textures. And, of course, one thinks of Delft Blue and porcelain.
For many years, I have worked almost exclusively with porcelain, precisely because it allows for such delicate, intricate work and because of how beautifully it interacts with light. I enjoy adding texture to my work through stamping, using a huge collection of materials—often found in nature.
This lamp is an ode to textures and light, paying homage to the Delft masters. Two mice represent the journey of discovery and the research required to achieve such mastery. The two scenes speak for themselves: Van Leeuwenhoek in his studio with his microscope, beneath the scene a detail showing one of the first textures he observed through his lens. The other scene depicts The Milkmaid by Vermeer.
Why not Girl with a Pearl Earring? And why the hares? The answer lies in a fascination of mine with hares—one I've had since childhood. During my time in Ireland, I learned fascinating folklore about hares—including the myth of the “milkhare”, a witch who transforms into a hare to steal milk. This knowledge deepened the connection. So the obvious choice for me, was to feature The Milkmaid.
Annemiek Hamelink - June 2026
www.annemiekhamelink.studio
Below some pictures of the making of the lamp:
As usual I looked for unusual and interesting textures to stamp the porcelain with. Much like Anthoni van Leeuwenhoek was always looking for interesting textures and tiny creatures when looking though his microscope at every day substances. One new “stamp” I used was a dried stalk of a cauliflower plant which had grown for 2 years in our garden. It had not produced anything the first year and we had just left it there to grow. As it grew the leaves fell off, leaving a beautiful texture:
The finished lamp after bisque firing, glazing and high firing:
And some details:
The lamp is on display at the Vermeer Centrum, Voldersgracht 21 in Delft since the 25th of June 2026 and will be there till the end of July 2026. After that it will go to it’s new owner, as it has found one last weekend, during the creamic fair in Delft.
Some more pictures by the organisation – Delftse Keramiek Dagen, from their facebook:
“Here you can see works by Alexandra Breeze, Annemiek Hamelink, and Annette de Vries. Their work is brought together in an inspiring presentation around Delft, Vermeer, and the city’s rich ceramic tradition.”