In terms of content, my work is about a fascination within geophysical phenomenology. By this I mean that I am inspired by physical and scientific facts. From physical and scientific facts, which are based on general truths, I find a niche in art that provides space for so-called magical thinking. I deal with these facts like a bricoleur, a term borrowed from Claude Levi Strauss: the bricoleur stands in the world of things as an active user of signifiers that are at hand. The bricoleur reorganizes things without a clear end goal, this in contrast to the pofesional craftsman. This fact forms the crux of my working method. I usually use geophysical ‘materials’. Materials such as: light, colour, wind, movement, gravity, etc. All of which are immaterial ‘materials’ that, through my work, are inescapably translated into materiality, i.e. the sculpture. The work hereby serves as a catalyst for this immaterial, geophysical matter. And it is precisely this problem of the immaterial that has fascinated me since my studies at the art academy. Once I started thinking about the empty space as a sculptural fact in itself. Just as John Cage experienced “there’s no such thing as silence” I discovered that such a void can never exist, not even in a vacuum. After all, it is always filled with certain geophysical aspects and/or actants and physical laws. These would eventually form the nucleus of my work.
I feel a strong kinship with the Arte Povera artists of the 1960s, artists like Giovanni Anselmo and Giuseppe Penone. But also the artists of the Zero and the NUL movement are artists that I feel very much related to. The ideas about the monochrome painting in particular. Their search for Zen Buddhist ideas about nothingness and emptiness connect with my own fascinations about emptiness and nothingness. Having done the Graphic School during my high school years, I know better than anyone that a (printed) image is composed of a number of primary colours. That is why I started experimenting with colour blending. The works Untitled (singularity) and Prisma are two results of my search for the monochrome. By optically mixing colours through a rotating colour-wheel, a monochrome is created in which several of my fascinations come together.
Colour is a subject that keeps coming back within my working process. The use of colour is in no way a decorative or an aesthetic choice. Although I am well aware of how directly it works on a visual level, it is for me a framework in which I have found a way to deal with the notion of the infinite. The ‘closed’ colour system of the three primary and the three secondary colours offer a limited whole which in i found a workable infiniteness. The piece ANIMA, 50×100 cm is a treatise on this matter. The colours used in the drawings are supposedly ‘all’ the defined colours (red, orange, yellow, green, blue and purple) of our visual colour spectrum. However, one drawing consists of different colour intensities than another. The infinity lies in the fact that each eye perceives a slightly different shade of colour than the next. Also, the perception of a colour changes when one complements it with another colour, or colours. By making two ‘pointillist works’ next to each other on a piece of paper, they enter into a complementary relationship with each other, which denounces the ‘intangible infinity’ of colour perception.