I graduated in 1994 on autonomous sculpting at the Gerrit Rietveld Academy in Amsterdam. Since then I am working as an artist.
I consider my sculptures to be some kind of beings; abstract figures which unite human and animal aspects. In these sculptures transparent curtain, fabrics, manipulated garments, plaster and glass are absorbed. This I turn into parts which are moulded into sensitive organs. For instance tubes and funnels which can search and grope.
I also use transparent fabric as a skin, seal or shell through which you can see the filling of the sculpture. You can look through them but you can’t touch them .
In the sculpture ´Swans with helmet´ I use glass bowls for protection of the swan heads. They can see but they can’t physically interact with each other. This sculpture is about the inability to make contact.
The sculpture ´The innocent constructor´ contains a squeezed plastered corpse in a fluorescent working vest .The material accumulates in to a hard glass fragile form. The corpse is strong and square-shaped and forms a contrast to the sensual phallic form. This makes the innocent constructor hard and solid but at the same time vulnerable. This sculpture shows the frail side of machismo.
I combine transparent materials with hard materials such as: plaster, metal, solidified pur foam, hardened textile and manipulated garments. This creates contrast and tension in the sculpture. Sometimes it’s necessary to remove or fade body parts so that the the sculpture emphasises the vulnerability of the body.
My sculptures represent touch, sensuality, imperfection, idiosyncrasy which needs to be protected.
While driving in my car I often take photographs.
Empty roads, the endless views and the never ending horizon. Through the frame of the windscreen I see the horizon in the middle, the sky above and the road below.
Literally and figuratively I drive towards a vanishing point. The ´non-moment´. This non-moment I try to register on two pieces of transparent fabric stitched together with a seam in the middle that acts as a horizon.
This material is partly see-through. The paint is layered on top of the fabric. Sometimes parts of the framework appear through the transparent fabric. The fabric becomes even more transparent because of the oxalic oil I use to prepare the fabric; this material also serves as the base for the oil-paint.
For me, paint is just coloured matter; the backside of the transparent cloth is just as important to the painting as the front.
Photography helps me to freeze the fast changing landscape that I see as I speed by in my car. With oil-paint I convert the dynamic of this snapshot onto the transparent fabric.