About my work
Insulation boards, glittering on the side wall of a house that’s still waiting for a neighbor.
Cracks and holes in the surface of the road that are filled up with a smooth paste.
A plastic safety fence, influenced by natural elements deformed, twisted and balled up.
I don’t search for these images, but I encounter them. They make me stand still, watch. At what is often unnoticed. These images are part of my individual, personal symbolism. They are also universally recognisable elements, to which we easily pass by but that discreetly shape our world.
For my drawings in charcoal and graphite I start from a fascination for the shape and physical appearance of things. Though the visual dominates over a symbolic value I want to do more than just show a structure or a texture. With my works I want to convey issues as memories, perception and interconnectedness.
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WALLPAPER
As a child, while waiting in the car for my mom to return from the supermarket I was fascinated by the brick wall that was right in front of me. It was constructed in a very sloppy way: mortar was bulging out of the joints because the excess of mortar wasn’t removed properly. The result presented itself to me as a sculpture that was both attractive and repulsive. It is this ambiguousness that I often explore in my drawings. That’s probably why the image of that wall has stayed with me.
Wallpaper is a drawing of this memory. But here, the mortar seems and flattened.
LOCKED/DANCING
I am fascinated by the interlocking system of different kind of chains. Here I pictured the 'curb chain', whereby the links are twisted and flattened to make space for the next. Finishing this drawing during covid lockdown I was struck by the symbolic value of a chain, being connecting as well as retaining.
WERFNET
Industrial objects, waste or packaging material are by-products that are not conceived as beautiful. They are neglected, but they do have a certain esthetic that I want to draw attention to. They are weathered, twisted, warped.
‘The beauty of decay’ is an important idea through my work.
It is the attractiveness of something that is broken, like an old ruin.
IMPRINT
The series of drawings called 'Imprint' are based on agricultural fields in Flanders.
The intense operation of the agricultural machines on the sticky soil form unintentional sculptures.
DRILLING
Made with a drill and collored pencil on paper. This drawing is a 'frottage': the structure of an underlying object gets visible trough the rubbing of the drawing material on paper. In this case a wooden fibreboard was used as a base, and three layers of colored pencil where applied.
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