In 1992, I graduated at Academie Minerva Groningen as an autonomous artist with staged photos. Prior to this study I have completed environmental studies on the Agricultural university. This has determined the underlying theme in my work.
The inescapable influence that man has on nature/environment is my central motif. To put it stronger, we are a lost species and take other beautiful creatures with us on our downfall.
The photos went out of focus and I started making paintings using paper cut outs. In 10 years I moved slowly towards using only paper.
I noticed that my themes could be better expressed in that fragile material.At first I started with handmade cut outs. Later I discovered the laser cutter machine, which allowed me to make large installations. I also discovered new techniques and different paper-materials.
My aim is to create works that look harmless and decorative, but are not upon closer look.
The deceptive decorativity of my work I use often in installations in churches. Churches are traditionally a place of refuge, provide protection, are a place of reflection and therefore an ideal canvas for my themes.
For instance. In 1959, a natural gas reservoir was discovered near Slochteren. It turned out to be one of the largest onshore gas fields in the world, and is now known as the Groningen field. The earthquakes in this region are not natural but man-made and are getting more frequent, happening about 2 times per week.
The work in the church of Schildwolde, located in the middle of the earthquake area of Groningen, went about the problems local people experience with that.
The bench in the middle of the choir was covered with a paper pattern in drilling rigs, this was only visible as you got closer. The work evoked many associations and invited to conversation and reflection. The deceptively decorative form draws the visitor in, but the title and the pattern generate further thought. The fragility of the material is directly linked to the vulnerability of the subject.
I have made several installations and artworks with this theme.
Besides this direction, my work is about several other environmental problems, such asinsect decline or the near extinction of bird species.
I come to realize that my work gets a more activist direction over the years.
There’s about 15 years between painting with cut outs to the development of the current (activist) paperwork.
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Vendor Biography
In 1992, I graduated at Academie Minerva Groningen as an autonomous artist with staged photos. Prior to this study I have completed environmental studies on the Agricultural
university. This has determined the underlying theme in my work.
The inescapable influence that man has on nature/environment is my central motif. To put it stronger, we are a lost species and take other beautiful creatures with us on our downfall.
The photos went out of focus and I started making paintings using paper cut outs. In 10 years I moved slowly towards using only paper.
My aim is to create works that look harmless and decorative, but are not upon closer look.
The deceptive decorativity of my work I use often in installations in churches. Churches are traditionally a place of refuge, provide protection, are a place of reflection and therefore an ideal canvas for my themes.
For instance. In 1959, a natural gas reservoir was discovered near Slochteren. It turned out to be one of the largest onshore gas fields in the world, and is now known as the Groningen field. The earthquakes in this region are not natural but man-made and are getting more frequent, happening about 2 times per week.
The work in the church of Schildwolde, located in the middle of the earthquake area of Groningen, went about the problems local people experience with that.
The bench in the middle of the choir was covered with a paper pattern in drilling rigs, this was only visible as you got closer. The work evoked many associations and invited to conversation and reflection. The deceptively decorative form draws the visitor in, but the title and the pattern generate further thought. The fragility of the material is directly linked to the vulnerability of the subject.
I have made several installations and artworks with this theme.
I come to realize that my work gets a more activist direction over the years.
There’s about 15 years between painting with cut outs to the development of the current (activist) paperwork.