Micky Hoogendijk
Meet our latest Mesure Muse: Micky Hoogendijk, former actress turned renowned art photographer and sculptor.
Whether acting, photographing, or sculpting, Micky has always expressed herself through art in its many forms. Now a sculptor based in Amsterdam, she is driven by a fascination with human connectedness – a theme deeply reflected in her work. Her series of sculptures draws inspiration from her earlier career as a photographer, which gained international recognition in the early 2000s.
Micky is photographed here in her home – also a cultural landmark and Rijksmonument – wearing a Mesure dark blue three-piece double-breasted suit and a navy cotton-cashmere knit, tailored precisely to her measurements. The suit embodies the same structural elegance found in her sculptures.
You have lived in multiple places around the world such as Los Angeles, Tenerife, Austin, Japan, San Francisco and Brussels. What makes Amsterdam your home?
Amsterdam has always been my home – I was born just around the corner of this house, near Vondelpark. I think when I turned 50, I thought to myself: Let’s go home for a bit. The funny thing is, a lot has changed, but my friends haven’t. They’re still here.
Your home is renowned for its architectural heritage, also being a Rijksmonument. In what ways does living in such a historic space influence your creative work? And for those interested in experiencing it, could you explain how visits to your home or studio typically work?
My studio is open by appointment only, which can be arranged through my website or by email. The house is called Huize Zonnewijzer – the Sundial House. There's a beautiful saying: We only live the hours with happiness and sun. That may not apply year-round in Holland, but let’s forget about that, haha.
Living in a house like this is truly an honor. You fall in love with the place, you feel its energy, and then you create around that. Built in 1919 by renowned architect H.A.J. Baanders and influenced by Frank Lloyd Wright, this house feels like it needed a lot of love, especially because of what it's been through. During the Second World War, the rector who lived here was one of the few who spoke out about Jewish children being taken from the school. As a result, the SS confiscated the house. The night before they arrived, the rector smashed everything to pieces so the soldiers would not enjoy the home’s luxury.
What initially drew you to sculpting, and how did it evolve from your earlier work in photography and acting?
Fifteen years ago, I began working as a photographer, and the transition from actress to photographer felt natural. As an actor, you really understand what it’s like to be in front of the camera. Still, I never set out to become an art photographer, it simply came from the right place. I had always wanted to work in 3D, but I never had the time. I was flying around the world, from Mexico to Canada to Bogotá, for exhibitions, doing everything on my own, trying to make it work. When COVID hit, I moved to the south of Holland, closer to nature, to see how I felt about coming back. We all suddenly had time, and many creative people, including myself, embraced it. It was a moment to feel and to think. That period deeply influenced my emotional state and the way I perceive the world. That’s how The Ones emerged. I started by sculpting a small piece in clay, it began with one leg, and then it took over. The sculpture just happens; it speaks to me, and suddenly I realize: Oh, it’s you! And I move forward from there. It’s a very playful, intuitive state that I enter. The most personal connection I can share with anyone is through my work. That, to me, is the greatest gift of being an artist: people see themselves in your art, and they develop an emotional bond with it. That’s why my work isn’t sold at auctions, because nobody wants to let it go. They keep it.
You previously said that your work encourages reflection over human interconnectedness. Why does that inspire you, and how is it expressed in your art?
I believe the interconnectedness between us is something we often try to deny, or pretend it doesn’t really exist. We’re all focused on showing how individual we are, and of course, we are, and that’s beautiful. But in doing so, I think we sometimes miss the point: our real strength lies in connection. When we support each other, collaborate, and inspire one another, that’s when the magic happens. That’s why I make The Ones so big, because when people see them, they pause and think: Oh… that’s us! We’re actually really kind. We’re gentle giants. And playful, too.
Could you tell us more about your work for ARTZUID and what it means to you?
My first piece at ArtZuid – the one we photographed on the Apollolaan – is number XI. To me, it marks the beginning of a connection: when you catch someone out of the corner of your eye and think, “Hey, I see you.” There's a first little spark of connection. In the sculpture, she turns while he leans toward her; they don’t touch, but the form, shape, and energy fill the space between them with that initial spark. There’s also a second sculpture, number I, located at the WTC on the Zuidas. That was my first large-scale sculpture ever.
Both sculptures are cast in bronze using the sandcasting method, a process that takes months to complete. The beautiful part of making a mold is that you fill an empty space with bronze, creating a body that becomes a human figure. Bronze is a living material: it evolves over time depending on the environment it’s kept in. On a broader scale, it’s fascinating to consider what a sculpture in a public place can do. When people see a sculpture daily as they pass by, it becomes part of their lives. Over time, they begin to think about it. There’s a quiet communication happening – not at the level of intellect, but more in the subconscious.
What does made-to-measure mean to you?
The moment you're spoiled by a brand that tailors a suit, you realize that there's a lot of things that actually don't fit right because we're not alike. We're all The Ones and we're very different. Besides being an artist, I'm also a businesswoman. I do everything by myself, and it's crazy how many different hats I have to wear. This piece makes me feel woman, elegant, badass business, confident, yet very neutral. It's nice to have something that fits like a glove and in which you can move freely. I can do handstands in it! We should have done that for the picture, you can write that down. Or maybe I should have climbed my sculpture.
Can you walk us through your choice for your Mesure piece?
The dark blue colour, I think, is a very elegant colour, and it can take you all around the world. It's not too much, not too little. It's classy and chic. The double-breasted jacket is for the moments when I have to talk about things that are about a lot of money or serious contracts or super big projects. And yet, it still feels like me. What I love about this piece is how multifunctional it is. I can mix and match it, and because I travel so much, it’s my go-to. And for the record – I love being barefoot. The heels in the photos? Just for the shoot. I’m tall enough as it is.
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