I drew the series I presented at the Moving Gallery in 2021 overnight. In my work, I am concerned with getting in touch with my inner wilderness. One way I do this is by being inspired by the visual culture of archaic peoples, but also by getting in touch with my unconscious. I try to do that by silencing my rational thoughts that have arisen in the modern human world. I do this through meditations or evoking active representations. That way, I can make a splash in my own invisibility and look for images that flash by but sometimes form a logical narrative. This world hidden in my unconscious, with all its characters and landscapes, is as much a reality as the “agreed reality” we share. By making these kinds of images, I hope that people themselves can get in touch with their inner wilderness or depth because I believe that the images I evoke come from an archetypal world. A world that is already within us as soon as we are born.

During the release of my collaboration with Bonne Suits, I had an exhibition at Gallery de Schans. Here I exhibited an overview of autonomous work.

All works originated from my fascination with the connection between man and nature.

De Vuurvogels expositie was het resultaat van de verbonden krachten van mij en Robert Jan Lechner. Samen legden we een onzichtbare en energieke wereld bloot die geworteld is in mythologische motieven. Door middel van kleurrijke en explosieve werken raakten we de onderstroom van archetypische concepten en brachten we ze aan de oppervlakte. Er waren schilderijen, zeefdrukken en tekeningen te zien. Het vond plaats in Galerie Waterbolk in Utrecht in 2024.

During the Grauzone festival, I had an exhibition called Schutz der Einheit. I used the vastness of the underground scene as a broad research palette. The dissent from these deep ravines speaks in multiple languages but mostly carries the same message: uniformity oppresses us and makes us insecure about our nature and way of living. It forces us to conform, to be end-result-oriented, and to stay within the lines.

For this exhibition, I drew inspiration from various underground artists and their themes to highlight the vastness of that rebellious smile. At the same time, I want to show that texture and a deviant nature can be captivating—perhaps even necessary. Embracing oneself without the pressure to fit a mould might be best for everyone.

The exhibition featured a series of new pencil illustrations, an oil painting created on-site, and a mural.

In addition, I was ultra impressed with Geneva Jacuzzi performance and how she inspired her dance from the Triadisches Ballett of the Bauhaus period. This reminded me of Klaus Nomi’s appearance. So, as a bonus to the exhibition, I drew Geneva Jacuzzi in pencil in Klaus Nomi style. That’s a dessert!

During the @grauzone_festival festival, I had an exhibition called Schutz der Einheit. I used the vastness of the underground scene as a broad research palette. The dissent from these deep ravines speaks in multiple languages but mostly carries the same message: uniformity oppresses us and makes us insecure about our nature and way of living. It forces us to conform, to be end-result-oriented, and to stay within the lines.

For this exhibition, I drew inspiration from various underground artists and their themes to highlight the vastness of that rebellious smile. At the same time, I want to show that texture and a deviant nature can be captivating—perhaps even necessary. Embracing oneself without the pressure to fit a mould might be best for everyone.

The exhibition featured a series of new pencil illustrations, an oil painting created on-site, and a mural.

In addition, I was ultra impressed with @genevaxjacuzzi performance and how she inspired her dance from the Triadisches Ballett of the Bauhaus period. This reminded me of Klaus Nomi’s appearance. So, as a bonus to the exhibition, I drew @genevaxjacuzzi in pencil in Klaus Nomi style. That’s a dessert!

Thanks The Grey Space in the Middle for the great space, Raven van Dorst for the DJ set, thanks Mavanti for the high quality frames & thanks to Michel Mees for the picture of me with my horse.

My first ever solo exhibition took place at Ruby Soho gallery in Den Bosch. It was a special moment for me, and I’m grateful to have shared it in such a beautiful space. Here’s what Ruby Soho wrote about my exhibition Inner Wilderness on their website:

“Ruby Soho is delighted to present Inner Wilderness, the solo exhibition by Utrecht-based artist Bob Mollema. In this show, Mollema presents a series of new drawings and oil paintings in which he delves into the foundations of his artistic practice. Inner Wilderness features his distinctive characters, mythical creatures, flora, fauna, and elusive texts in intriguing works on paper and canvas.

Mollema’s work is raw and sincere, created with chalk, pencil, or oil paint. Embracing chance, imperfection, and the tactile nature of analog media, he explores a pursuit of purity and authenticity. His artistic practice blends elements from mythology and popular culture, merging the everyday with the inexplicable. Mollema does not limit himself to a single medium—his work appears on record covers, murals, in concerts, publications, on skateboards, and fashion.

Speaking about his work, Mollema says:
“In my work, I try to be guided by mythological motifs to get closer to my inner wilderness. I believe that this wilderness can speak when I look at the world with honest, non-conformist eyes. It’s a personal battle against the smoothing uniformity that devours the texture and beauty of difference. I don’t let myself be led by a desired outcome, but aim to stay as close as possible to my natural signature so that the aesthetics remain pure, honest, naïve, and untouched.”

You may have already come across Mollema’s work in publications like National Geographic, de Volkskrant, or Vrij Nederland—or perhaps at De Bijenkorf, on clothing from fashion brand Volcom, or in posters for music venue Paradiso. Inner Wilderness is nourished by authenticity and serves as an act of rebellion against the uniformity that is slowly devouring the world.

Inner Wilderness, Mollema’s first solo exhibition at Ruby Soho, opens on Friday, April 4 at 19:00 in the presence of the artist and can be visited until Saturday, May 3.”

Photo’s by Thomas van Oorschot

CODA Apeldoorn invited me for a two-day artist residency at the CODA ExperienceLab Community, where I developed and produced a zine rooted in local folklore. During the residency, I challenged myself to work with unfamiliar techniques and started from a regional saga that had stayed with me since childhood: the story of the Aardmannetje.

According to the legend, an Aardmannetje—or perhaps several, that part remains unclear—would frighten passers-by from within its hill. Years later, when the Echoput was dug, its burrow was supposedly discovered. The story has remained part of the folklore of the Veluwe region ever since.

Rather than creating a historical investigation or definitive character study, I used the zine as a personal exploration of what such an Aardmannetje might look like to me. In doing so, I hoped to create a connection with the museum’s regional folklore while leaving space for interpretation. Legends survive because they continue to be retold, carrying the imagination and perspective of different people with them. That is what keeps them alive.

The material character of the zine was just as important as its subject matter. To create something that felt both ancient and contemporary, I chose to work with woodcut-inspired printmaking using the laser cutter available at the CODA ExperienceLab Community. The final images were printed with a heat press rather than a traditional printing press. This process allowed the organic texture of the wood to remain visible while preserving the precision of the laser-cut lines. The result feels almost like looking through the fog of the Veluwe in search of the elusive Aardmannetje.

The zine was finished with a hand-stitched binding that, to my eye, carries a distinctly medieval character, reinforcing its connection to oral tradition, folklore, and handmade storytelling.

Click here for a short video about the process (Dutch only)

Museum Nairac invited me to become part of their exhibition ‘Wortels’ (Roots). As an artist from the Veluwe region, I accepted this invitation with great pride.

Barneveld lies only about 20 kilometers from my birthplace, Bennekom; separated by distance, yet bound together by the green forests of the Veluwe; the place where, at a young age, I first encountered the magic these woods have to offer.

A magic that breathes through the pores of folklore and mysterious street names. A magic that feels much like the energy of a gathering thunderstorm reverberating through your bones! The invisible space in between; the things we cannot name; that is where it all takes place!

For this exhibition, I am presenting a selection of works, and it remains open to visitors from March 27 until June 26.

Photo’s by Johan van Omme

During my solo exhibition ‘The Unspoiled Wihtin’ at Wish Less in Tokyo, Japan, I created a series of glazed plant pots featuring animals, figures, and observations gathered throughout our journey across the country. The ceramic pots themselves were made by ceramicist Yoko Nagai, who runs the gallery together with Rob Kidney.

After the pots were fired, they were planted with Aloe Vera cultivated by the South Korean plant studio Aero Plants. The resulting works became part of the exhibition, bringing together contributions from different makers while remaining rooted in my own visual language and experiences of Japan.

The exhibition itself presented an overview of my broader practice, bringing together a selection of existing works from different periods. Central to the exhibition were pencil drawings that emerged either from my autonomous studio practice or as part of commissioned and collaborative projects. Together, these works offered a glimpse into the recurring themes, characters, and observations that continue to shape my work.