In my work, nature is a great source of inspiration. To feed this inspiration, I go back to the mountains every year. During my tours I collect images and keep a diary. Back in the studio, I translate my findings and experiences on the flat surface. Sometimes this manifests itself in a whole series of new works, such as my project around 'Lac de Gaube'. Intersections of this lake in the French Pyrenees were translated into about 30 small works and an accompanying exhibition and catalog. Or a series of works inspired by the book 'Die Wand' by Marlen Haushofer. Another time the translation is more abstract, less easy to interpret. An important aspect in my work: the careful manufacturing process that brings about "beauty" through the precision of the painting technique and the often nuanced color choice. The paintings with flowers have an attraction because of their shape and color, despite the feeling that something is not right. The shapes are too erratic, the colors are so artificial and synthetic that the naturalness of the vegetation seems to be lacking. They are flowers that could grow on toxic soil, on a soil that is radioactive. Flowers that are not fed there by fertile soil but by the threat of it. In all the subjects this duplicity comes back. It applies to the paintings with animals, the wolves that combine beauty and cruelty and perhaps even more strongly with the pet, the white cat. The cat is flat in the picture. The pose is one that radiates tranquility. The rich white coat is the cuddly fur of a pet animal. The only color accent is in the eyes, the bright red is visually beautiful, but the image also rid of her innocence. We are looking at a domesticated predator. The most recent subject is the landscape. Often they are bare mountain landscapes. Dark mountain ridges with a glowing sky above. The color of the air and the gradual transition of color and tone also create an ominous atmosphere. They are not mountains for a tourist walk. On the plain in front of the ridge, small architectural form elements can sometimes be seen in which a chemical factory can be recognized. Here too, a sacrifice is made, it is one of the places where the price for prosperity is paid. "The wonderful thing about Rob Regeer's work is that the essentially dramatic content does not stand in the way of its attractiveness. Not only the precision of the technique is the reason for this. The drama, for example, is also tempered by applying a transparent epoxy resin over the show. This creates an actual distance between the viewer and the performance. One therefore looks not only at the representation but also at a totality, at an object. An aesthetic object in which the performance seems to be stored “.