In a playground full of open-ended experiments with materials, objects and shapes I create sculptures, video, performance, photographs and installations. Humorous, a bit absurd, yet sensual and tactile. Sometimes the material still literally displays my fingerprint. My actions consist of assembling, combining, building and performing. I consider everything to be useful material in that process: lead, wax, water, air, video pixels, printer ink and even my own body.
My sculptures contain references to the human body, and I use my own body as a material when I do a performance on camera.
Because of my visual impairment my hands play a decisive role in the creative process. This constant interplay between seeing and touching creates a visual language of its own: playful, imperfect, yet also close and tangible. Since most of my work is spatial, it also invites you to fully embrace it.
Video images sometimes seem to stand still; sculptures seem to be moving. What I find most exiting, is the transition of 'moving – non moving'. Can digital pixels be moved three dimensionally? Can a still from a video become a sculpture?
Creating art is essentially using my hands. Action is the most essential human movement for me that takes you from one quiet moment to another, and offering you the possibility of peeking to the intimate actions I perform using the material. Since the action itself performed with the visual material is leading, my work looks like an experiment. An experiment, temporarily stopped, having just recently escaped from the workplace.
The construction contains no secrets whatsoever. I challenge you to investigate, to observe, to touch, to move. The process of art creation is a physical activity. So is experiencing my work. That way you remain aware of your own body in an intimate and intense encounter, which allows the work to slowly penetrate into your mind and meet and greet with your own thoughts. In a world where art is perceived by people holding their 'hands on their back', it is my ambition to have you perceive art not only in a visual manner, but also in tactile way.
Is it possible for an artist to penetrate the 'innermost nucleus' of a sculpture? Can I challenge the viewer to join the movement from the surface to the heart?