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As a visual artist, I look for images that witness a thorough working process. Every action that happens is simultaneously a seed and a harvest. The action as a catalyst for the image. Actions can be directed, but are at their best when there is an unpredictable factor at play in the action. Time, temperature, weather, a lack/physical inability to direct an action 100 percent are good examples of unpredictable factors. The act is not the end, but a means to a residue. I think a residue is much more credible than a directed end result, which is why I am looking for (directed) residues. Of course, every action is guided by the artist's ability to act, but I try to install 'stumbling blocks' for myself during the making process to detach the result from the action. For example, in my series "the new mills," panels are painted in dozens =of layers, creating a surface that cannot be controlled by the characteristics of the paint, drying time, humidity, temperature and time. It is possible to completely cover each previous layer of paint with a new layer, but it is impossible to keep that layer flat. A relief is created that is simultaneously made, is a residue and yet is credible as a composition. The large installations, mostly outdoor works, hover between functional-looking construction site installations, and restored artifacts from a non-existent past. I work with both new and found materials, the combination of which immediately puts me on a particular track when I begin a new work. A color, or a material immediately determines an atmosphere, which I can then build on. My oeuvre is very multidisciplinary. Sculpture, with many materials, painting, works on paper, monumental and very small formats, the spectrum is huge, and it is necessary, because so is the world around us. I even have my own merchandise.I show my work in museums, but also in a church square, in off-spaces, galleries and wherever possible in public spaces. All these places have a different character, different visitors, different needs. My work has to stand up in all these circumstances, literally and figuratively. What 'glues' my entire oeuvre together is the fact that all works arise from labor, actions (sometimes very repititive) and a creative process without a clearly predetermined plan. My hand hovers around the materials, as it were, and I listen intently to what they have to say.
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