Nature, or the natural appearance, is always key in my work. The human shape is missing—for the time being. Humans however have a presence in the paintings through what they do, how they affect the landscape, the disorder they cause and by the things they produce—the structures they generate in the short time they are here on earth.
The painter’s tape is an negligible mass product, acquiring meaning and transcending its mundaneness in my paintings. The artificial acrylic paint, delicate ink and that humble tape: the fact that you can use these materials to create more or less natural scenes never ceases to amaze, as I also showed in my publications. I wish to carry on commenting on man and the works he leaves behind, and that commentary remains versatile: visualizations of (constructed) nature — a tree, a bridge, a table, a gate, a fence, a book.
Throughout the Covid-period, I worked on a series called Solidariteit — Solidarity. A range of structures, loosely based on stacked tables, seen in a desolated restaurant during the pandemic, a time where solidarity was put to the test. Combining this with the fascination I have with appearing and disappearing structures in the modern landscape, it plays with the metaphor of instability, in the structural sense as well as within our contemporary community—the way we relate to one another and our surroundings. This leads to a new series, Precariteit — Precarity, and is ongoing.