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Oldenzaal, September 6, 1949




Academy of Art and Industry (AKI) in Enschede


Course, "The Psychology of Arts", University Nijmegen




Foundation for working occasions of artists (SWOK), Oldenzaal, Netherlands


Alliantie, Foundation for Arts & Culture, Rheden, Netherlands


Board for Acquisition of Art, Rheden, Netherlands






LINEART, Ghent, Belgium


Holland Art Fair, Utrecht and The Hague


LINEART, Ghent, Belgium


Grand Marche d'Art, Berlin and Hamburg, Germany


LINEART, Ghent, Belgium


LINEART, Ghent, Belgium


LINEART, Ghent, Belgium


ARTExpo, Barcelona, Spain


St-ART, Strasbourg, France



The base for making material art was already founded in my youth. The welding of steel and the smell of the metal workshop of my brothers played an important part during my younger years. The first time I left home for a vacation trip I was immediately caught by the huge impressive shapes of new buildings, the architecture and the space. It fascinated me to look at shapes and the multiple possibilities of combining different materials, the structures, the transparency and space. An important aspect with this is mankind and its space. I have a great fascination for the confrontation of old building elements connected with new construction objects. In Italian villages one often sees renovated old historical buildings with open areas in the plaster to show the original structure of the wall. It is clear to me that much is possible and allowed for if you open up to it. The dualism between rough and aesthetic thrills me.



I graduated at the Academy of Art and Industry (AKI) in Enschede in mixed media. During my study it soon became clear to me that my 2-dimensional work could be “translated” to 3-dimensional modelling. During my earlier years I had been searching for structures and shapes in compositions that woke associations. For graphical work I first only used black and white shades. Colour did not add anything at that time.

Through black, white, grey shades and transparency, I came to associations with glass, concrete, metals, space and perspective. They became associations with x-ray pictures of building projects. My works on paper looked like drawings for spatial construction objects.

At a later stage I did welding courses with the intention to work with steel. I ended up with my present monumental panels. This way of working is compensation. It gives me the freedom to put my soul into my work. But like everything in abstract art, nothing is predictable. By experimenting and searching every time, I try to push myself to my limits. At the moment, I want to continue with this process to find out what possibilities derive from it.



Sometimes I work on two panels simultaneously. Some can be connected with a leaden strip later on. The panels are a kind of building project for me. I build images in layers, not losing sight of the aspects space and perspective. The layers composed of found materials; packaging board, corrugated recycled paper with structures and oxidised lead. In addition, I use mixtures of sand and pastes to obtain concrete-like surfaces. The layers in a composition are put up with special glue and coating. By making a special structure with plastering blade and adding a transparent liquid and inky pigment the skin gets its totally own character. I use thick panels as a base, letting the image run over the sides. The most difficult part of the process is to stop at the right time. This way the silence and abstraction in the work can be optimally controlled. This process starts again with every panel. The works are related to each other, because they are a reflection of me, but the works each carry their own individual image.



I don’t let myself become influenced by trends. I create my own unique presentation in my work. Spanish artists like Antoni Tapies, Canogar and Rojas, are all captivating material artists. I am privileged to have been invited to exhibit my work in Barcelona, Spain; considered the center of material arts.



Being an artist sometimes is bitter. Continuously you are pulled to and fro between showing and hiding, the desire for isolation against the need to communicate with the world. There is duality between the physical and intellectual experience, between inside and outside and the ambiguity between separation and being present. This duality, the conflict, the reflection, the balance, the contrast, being male and female, are the association raised during the creation of the compositions. By the upper and lower layers in my work, the structure, the colours change in absolute silence to a clear present sensation to me. The positive and negative duality create a synthesis; they embrace each other. They are the metaphors of life. Past and present meet in architectonic and abstracted landscape shapes. One cannot do without the other to be individual.



This work is an experiment growing over borders in the association. The works are silent witnesses of life. The emotional experience of romance at the sight of a ruin can be as strong as the sight of expanding contemporary architecture. The rhythms of life cohere or reject each other. Exploring my own limits in a composition of layers and structures and colours that are uniform with my earthly nature, make me dig myself into the matter at the moment of the experiment. This experience I only can show through my work.