WORK
Interacting with a dynamic world full of stimuli forms the basis for my artistic practice. As an artist, my environment and work belong to the main sources of inspiration. At the same time, I am vigilant for the everyday coincidences that cross my path. This overwhelming stream of impressions is being purified and many times merged with all kinds of (art) historical elements. In a subtle way, and often without expressing any criticism, my artworks address a series of social sensitivities and concerns.
PAINTINGS
The added value of painting lies in the opportunity to create totally new images. Loose fragments of personal ideas and images are the starting points for these visualizations after they have been mentally deconstructed. In this way a subject can be viewed subcutaneously to get to know its intern logic even better. For the creation process of my paintings, I prefer oil paint. This type of paint makes it possible to work slowly and the smell of oil paint and turpentine is inspiring. As a painter, I spend a lot of energy on the gradations of my themes. The creation of singularities in an increasingly standardized world makes liberating disclosures possible.
COMBINES & CONCEPTUAL
Since my childhood I have been attracted to the design of objects. I only collect objects that touch me from their aesthetic or story, such as a special patina or a historical link. The longer the different items belong to the collection, I become more and more receptive to possible parallels between two or more objects. By combining things with the same logic, a poetic power can suddenly come into being. Finally the composition of everyday objects guarantees that everyone interprets the piece in a unique way. This has the positive effect that more meanings arise progressively about a specific artwork.
VMANOGRAMS
The possibilities of the computer and digital photography have left a deep impression on me. This resulted in the Vmanograms in which the dynamic of the photographed subject is confronted with all kinds of digital processes. For this type of artwork I start from a self-taken photo with an everyday, recognizable subject. By digitally distorting the image in a subsequent phase, the subject loses its anecdotal character and the link with the mimetic origin disappears. For many people, viewing the abstracted images goes hand in hand with a special effect, pareidolia in particular. A sort of illusion in which someone has such an interpretation of an unclear or random perception, whereby he thinks he can perceive recognizable things.