Welcome. Now how to view my website:

We see art mostly through reproduction, and so it's not simply documentation; it's an influence.
I made this website in that awareness - I made it so you'd see the works and texts and links exactly as I want you to see them. I would nearly say this a work on it's own; but it's not, a collage comprised of texts, web-windows and photo's of the actual works; but I'm not.

This is a one-page-website with projects going from double line to double line.
The menu you can find at the top.


Clickeable images and links of this colorwill open a new smaller window.
My advice: don't close the smaller window, just alternate between this window and the smaller.

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Have Fun.

  • Assumption is the mother of all fuckupsza. 2 jun. 19–21 uur

    Exhibition at Moira in Utrecht.

    Go to Moira website >>

  • My Studio on a random evening 2018
  • Silver Lining.

    Commissioned work for in temporary land art exhibition: Landkunst aan de Zuidwaterlinie.
    Assignment to artist's own interpretation.

    Text exhibition:

    "Dit jaar organiseert het bkkc in samenwerking met Staatsbosbeheer, Brabants Landschap en Erfgoed Brabant opnieuw een tijdelijke Landkunst expositie op een bijzondere plaats aan de Zuiderwaterlinie. Ditmaal staat het zuidelijk deel van natuurgebied Het Bossche Broek centraal. Negen jonge kunstenaars maken speciaal voor deze locatie kunstwerken. Voor inspiratie putten ze uit de rijke geschiedenis van Het Bossche Broek en de Zuiderwaterlinie."

    Hosted by BKKC with Staatsbosbeheer and Erfgoed Brabant.

    Curated by Hermelinde van Xanten (BKKC)

    Participating artists:
    Maud van den Beuken & Thomas Ritzen, Lotte Dirks, Sil Krol, Manuel Marengo de Swaaf, Jolanda van Nuenen, Laura Schippers and Josua Wechsler & Martijn van Dalen.

    bladieblabla

    Silver lining

    Photo's of the shade of the sculpture.

    Cloud Shade
    In the future this photo will be part of a printed photo series. Further down you will see
    another photo that will be in that series.

  • No Material Difference

    Graduation Exhibition MFA AKV|St Joost, Breda, Club Solo.

    Text exhibition:

    "What makes a difference; materiality, concept, perspective? Material is the substance that comprises the whole, a gestalt matter of that which is tangible. Or is it? The material that leads to a play or a comedy routine isn’t tangible. So then, is material a tool? A yard of fabric? Is material a quality? Whether substantial or a mode of philosophical reasoning in our work; there is no material difference."

    Participating artists:
    Elena Capra, Helga Jakobson, Maurice Nuiten, Guido de Pooter, Ielse Slager, Jeremiah Douglas Stroud.

    Working things out

    Plates

    Moonstones

    More about the Moonstones: slide down here or open in window.

    The experiment

    What you do is make your own melting oven - why? So that all safety regulations can go out the window if you prefer it so. I made mine together with Kai Chang.

    Since you now have your own melting oven you can start experimenting. Note: do take all possible safety precautions if possible, only break the rules if you know how to follow them.

      Experiment 1: melt aluminum - succesfull. You'll get an aluminum cupcake; the aluminum is shaped to the mold.

      Experiment 2: melt salt - succesfull. You’ll get a solid, smooth, cupcake of salt; shaped in the mold shape.

      Experiment 3: melt both aluminum and salt at the same time - successful. You’ll get a naturally shaped aluminum stone - because the salt and aluminum won't mix. They stay separated like oil and water and the salt is lighter, so while poring the liquid salt will fill the cupcake first and the aluminum will follow, falling in the liquid salt. As the salt is already solidifying the aluminum will be shaped naturally. Later you will have to wash away the salt with water - this will give a smell as from rotten eggs. A naturally shaped aluminum cobble results.

    Note: aluminum melting temperature 600 degrees. Salt melting temperature 900.

    Note: poor quickly else the salt is already solid.

    Notice: the many, tiny electrical shocks happening while melting and poring the combined fluid (combined, but not mixed - oil and water).

    This is not an instruction so that others may do the same. It’s a transparency to my experiment and the work for viewers to enjoy. If you will attempt this experiment, or a fairly similar experiment - after having read this - then please notify me because I’d like to know about it. I might learn some more. And also; there might be possibilities to work together.

    Note: I’m working on, and planning for, filling a whole floor space with these aluminum cobbles.

    Walking Sticks, Aluminum Walking Sticks

    The whole world has become technical. I'm tellin' y'all. Every little thing has to be researched, understood, discovered and proven to be either different from what we so dearly hoped the thing would be, or; the absolute exact damn thing we then already knew it was but had not proven yet because it was simply not worth proving before. Often enough it is the first and all joyous little mystery and simple allure of daily life gets sucked out, gone. However, I have to admit it’s even more annoying when it is the second; and tons of effort, time and money is spend into proving the obvious and it leaves me trying to keep up a happy face saying dumb shit like "no shit Sherluck". These proven facts, all that demystifying of the easy, daily life truths and beliefs, is making everything very technical.

    “Ya, I think it may be like this or that” “a cat lands always on it’s feet". “Well, no, technically it’s actually slightly a bit more like this or this” “the cat only lands on it’s feet from a certain height". Not that it made any real difference, but technically, yes I suppose technically there is indeed a difference. Walking with two aluminum walking sticks is technically better then no hiking sticks. Technically, yes, you will walk a bit further, more easily, with aluminum walking sticks. Though, aren’t you out there, in the woods, desert of other wilderness, hiking, huffing and puffing, simply to enjoy yourself? To see nature in it’s naked glory? For the challenge of your ability against nature? Isn’t it then more enjoyable not to take a mass produced aluminum walking stick with you to the woods? And if a walking stick is needed, then why not simply pick one of the billion sticks from the ground; a stick from nature? The forest is drowning in sticks, I'm sure you should be able to find one to your liking there.

    Allure and charisma, the charm and beauty of a walk in the woods? When you arrive in a cool wooden shed up the hill, settling down for a beer and some grub for the hike back, do you then not think it’s a bit.. misplaced to need to find a spot where you can put your shiny aluminum, with red, yellow and blue powder coat, walking stick? Maybe you can put it next to the axe, needed for chopping wood, or the fishing gear, bow and arrow. Hang them on the wall next to the leather jackets and hats, the knives and rope, or yet another axe. Another axe you ask? Well, yes! Because axes are cool for f*ck sakes.

    Do you really need a stick for both hands? Is it really about getting from point A to B the quickest? They have cars and bicycles these days for getting from A to B the quickest. Is it so important you need aluminum walking sticks for that? Aluminum walking sticks with rubber padding and bend in a certain angle so that you have another 10% more use of having an aluminum walking stick up a mountain covered with sticks; drowning in sticks. You need the one you took from home, the one that is tested and proven to be the utmost best for walking up a hill so that you may be up the hill an extra 10 minutes quicker, and praise yourself for the intelligent decision of buying that nice and shiny aluminum walking stick, for else you would not have been the proud amateur hiker who goes to the woods so he can share on Facebook these magnificent walking sticks, these trophies you have earned to call your possession by walking up a hill. You might even scratch the paint a bit and add to your Instagram post, triumphantly, that your shiny aluminum walking stick got some wear, that it looks so natural and battered like this; just like a real sticks do! Fun isn’t to see the woods and to walk in it, fun is to walk the trail you have seen on the internet and to walk it 10 minutes faster then the average speed that google maps had predicted. You may even compare the two: “ah see Harold, google maps says we should be walking on this path and we are doing exactly that! How great of us! But no, we are better then google maps, because we also have these amazing aluminum walking sticks and thanks to those we are now 10 minutes ahead of schedule”. “Ow joy, ow joy, I’m so proud of us”.

    Unbecoming.

    Read

    XD #1.

    Someone took my texts outside to read. Later found out that was Tim.

    Sticks & Other Sticks

  • Lenore Elenore
    Wood, concrete, plaster, plants, work tools, food.

  • What for do we have Guts and Gore

    Guts; those things that are put somewhere between head and toes and above what any chap holds dear most. The center for ideas that my head won't understand and that most people deny existence of. They bring the underbelly feeling you receive when you hold no words for the lights and brights that boil up from the depts of your guts, bowels, colons and intestine system.
    The greens, greys, darks and ruby’s, the hair, the slimes, the sloths and the liver, the creatures and butterflies, sparkles, tingles, grins, sneers and the glaring glares, that wander about those caves and caverns of what people would call their underbelly; are what produce that one specific feeling, a gut feeling, very natural, but discarded by the creaking machinery of humanity.

    Gore; is when you would not only go for the filtered and refined residue; the grins and grace of your gut feeling, but you barf out also, in equal quantities, if not more so, the shit that resides in those very same bowels and intestines. Where ruling one feeling over the other is madness; one whim outwhimming another is ludicrous. Where creatures are to fight to the death amongst themselves, with survival the only rule; each survivor a celebration; another butterfly hatched; another smirk and grimace thrown towards the ruling rules; another glare glaring me forward.
    Tendons are strung, snares are tightened; they sound the tremble of the tides that circuit through the subterranean vaults of the flesh. Gore; Guts’ crude and glorious incomprehension, comes full throttle and toes cinch, gullets rattle, valves clatter and glares fever.
    There is no choice now. Create or be created. Act or die slowly.

    Because you see, even Gore, if done heartily, can charm me.

    It’s only by the grace of those grins, sneers and glaring glares, that one may refrain from joining the poshly gravediggers, the lushly opinionated and the whim-less bourgeoisie. By these graces one may refrain from sinking in the excrement of the dead and deceased; the artists and intellects, the poets, painters, sculptors and musicians; the greats and grands, the exemplary, the virtuoso.
    It’s with those innards that you may still digest judiciously the flora, the fungi and the rot of todays dead and zombie inhabitants, but temper your hunger carefully, cultivate your nourishment, for even water can turn poisonous. Be selective in your nutriment as well, for those fodder contains no wine.
    The finest way to ward oneself from the zombie apocalypse; the cataclysm of the dead, is by becoming the erratic and the capricious, the unpredictable and the whimsical. Live by the unknown impulses! Embrace the whispers from the caves and caverns. Encourage the plays the creatures perform and celebrate them, celebrate them heartily. Do not make dams where tides flow. Try not to hush the ruby rivers, let them roar and tremble, clatter and shatter.

    Do not make timid lungs heave. Train for big breaths. A sound soul dwells within a sound body. Health is causality's tribute so move about in ways that the muscles too have their festivity’s. Credit their frissons, follow their instructions; sprout thought from the Guts and the Gore.

    Read
  • Spiderplant
    The spiderplant multiplies by fishing, with a strand, for new dirt. Whenever the plant does this I'll be putting a pedestal underneath and so the work will grow.

  • To Paint a Thousand Leaves

  • Frame
    Wood, fabric, Ivy plant, flowers.

    Like a Painting

    Photo from the side of the sculpture Frame.
    You see the image that is produced by the light shining through the sculpture, Ivy plant and flowers. An image - which usually is simply a reference to the original - 'the real' - is produced by a real plant. More color is added by 'fake' artificial flowers. A 'painterly' image is the result.

  • Theoretical Exemplification

    Theoretical bleu is not work

    I was told about exemplification by one of my teachers (Phillipine) in a quick hallway-talk. She tipped me to research it since the works I had made seemed related to the topic. So I looked it up and it turned out to be a topic Nelson Goodman had enriched the world of philosophy with. Exemplification is the sum of a reference plus the possession of a quality of the subject that it is referring to. So blue is a reference, bleu is an exemplification. (This is an overly simplified deduction of a complex and nuanced theory).

    During the weeks that I was going through texts and papers, with topics like Nelson Goodman’s Aesthetics, I had become completely withdrawn from the world: grumpy, serious, locked up within my own realm of thought. And when I would take a break I would still be crouched behind the computer, like a cockroach, motionlessly and without an appetite, taking in whatever the web had to offer. Looking at images and memes that would make for an easy bit of fun. And that’s when I saw a meme of a smug little frog, chilling, with no care in the world on what appears to be a bud, saying “NOPE”. Exactly what I needed. No more theories! So I painted it.

    This painting is called theoretical exemplification because theoretically it follows the formula of exemplification: the frog refers to me / my state of mind; how I didn't want to deal with theory’s, reasons and explanations anymore - "NOPE!". It also possesses the quality that it does not share the information that, in a way, it’s actually a self-portrait of my ‘NOPE' state of mind. You can’t tell simply by looking at the painting, so the painting behaves - by not being self-explanatory - as to what it refers to; my state of mind, which was “Nope, I’m not explaining.”









    It was quite amusing to me, especially since it’s a theoretical exemplification simply because I say so - because I imagine the painting to refer to me, yet do not tell “that’s the reason I painted this!”. It was almost like a secret for if I would tell, I would have explained the trick and not explaining is the trick.

    It was amusing most of all because now, secretly, I too was one of those pretentious pricks, showing one thing while meaning another. Like most modern art is. Like most modern art doesn't look that interesting unless one is able to see it as the artist does - therefore the weird and pretentious texts accompanying the works. Or the lame argument, by the artist, that everyone is free to interpret the work to their own liking; as if they weren't so already. And what arrogance to presume that you, the artist, are entitled to allow someone such freedom. It's probably to excuse the work for the lack of finesse; hiding it behind mystery and 'free interpretation'.

    It's funny how one can enjoy self-loathing if it includes other people; the more I'd laugh at myself for the folly I had committed with this 'work' - a work that does not mean much unless I proclaim it does - the more I'd be laughing at the people who I considered similar. And laughing I did, all the more when I would see the painting with a sober mind but didn't recognize my former connection with it - as one can disagree with their former self.

    I laughed internally, with a tiny smirk on my face.

    But now I've told, the trick is out, it's not that funny anymore; even satire and irony can outstay their welcome.

    "So, bye bye 'work', you are not that funny anymore."
    Is it still a work of art?
    "NOPE! It never was."

    Read
  • Moerasdraken #3.

    Interview by Art historian Marcel van Ool.

    Article in Dutch:

    "Binnenkort opent in het Bossche Broek de buitententoonstelling Moerasdraak, een samenwerking van brabants kenniscentrum kunst en cultuur (bkkc), Erfgoed Brabant en Staatsbosbeheer. Het natuurgebied aan de rand van Den Bosch vormde eeuwenlang een natuurlijk hulpmiddel bij de verdediging van de stad. Den Bosch is in de twaalfde eeuw gesticht op een zandige heuvel in een verder nat gebied, waar Maas, Dommel en Aa een deel van het jaar buiten hun oevers traden en veel kwelwater aan de oppervlakte kwam. Ideaal om vijanden tegen te houden. De stad, met als bijnaam Moerasdraak, achtte zich onverslaanbaar -dat was ze ook, totdat prins Frederik Hendrik in 1629 Jan Adriaanszoon Leeghwater met zijn ingenieurskunsten inschakelde.

    Het Bossche Broek kwam droog te liggen en na een beleg van viereneenhalve maand nam de prins de stad in. Dat was het einde van de Spaanse tijd. Den Bosch hoorde vanaf toen bij de Republiek van de Zeven Verenigde Nederlanden en werd als vestingstad voortdurend versterkt en uitgerust met een sluizensysteem om gecontroleerd land onder water te zetten (inunderen). Vanaf 1700 is Den Bosch ook deel van het Zuiderfrontier of de Zuider Waterlinie. Die kon niet voorkomen dat de stad in 1794 in Franse handen viel. In 1874 wordt de vesting officieel opgeheven. Er volgen verbeteringen van de waterhuishouding. Dat het Bossche Broek gespaard is gebleven als natuurgebied is te danken aan de inspanningen, al voor de Tweede Wereldoorlog, van Roelof Jan Benthem, inspecteur landschapsbouw bij Staatsbosbeheer.

    Voor BuitenPlaatsen heb ik een gesprek met alle kunstenaars.

    Op weg naar het atelier van Thom Brand, in de stationsbuurt van Den Bosch, kom ik langs de echte moerasdraak. Dat wil zeggen, langs het verguld bronzen beeld van een draak dat iedereen kent die ooit de stad per trein bezocht. De draak is fabeldier en metafoor voor de stad. Maar om welke draak gaat ‘t hier eigenlijk: misschien is dit wel niet de moerasdraak, maar een verwijzing naar de naam van de donateur: jonkheer Bosch van Drakensteijn. De verbeelde draak moet natuurlijk niet verward worden met een heuse draak (‘ceci n’est pas un dragon’ zou op zijn wapenschild moeten staan). Net zo goed als mijn gebruik van het woord ‘draak’ niet meer is dan verwijzing.

    Het besef dat vormen en betekenissen niet zomaar vast staan, blijkt een prima introductie voor het werk van Brand. De kunstenaar maakt hele concrete voorwerpen, waarmee hij meer dan eens toch de vraag weet op te roepen wat het eigenlijk zíjn. De vraag naar wat iets is, heeft een partner, een vraag die er altijd achter vandaan komt: wie vraagt dat? Heeft een voorwerp alleen eigenschappen omdat onze zintuigen die eraan toekennen? Als je dat doordenkt, dan maakt ons brein de wereld. Iedereen zijn illusie van werkelijkheid. Zo ging ons introductiegesprek. Meteen de diepte in. Nou, bijna. Eerst zag ik op de gang bij zijn atelier een geweldige hoeveelheid potten met planten. Brand wees me op de zaailingen van zijn favoriete boom, de Kashmir cypres. Hij bestelde zaden en kweekt de boompjes nu op. Dat gebeurt heel liefdevol en ik zie een band tussen de kunstenaar en deze natuur in het klein. Die is heel direct, en onbedacht. Wat nou moeilijke vragen? Die zijn er niet in het hier en nu van dit tuinieren.



    Later komen we nog een keer terug in de gang. Daar staat namelijk ook een werk uit de presentatie waarmee hij vorig jaar afstudeerde aan de Academie voor Kunst en Vormgeving Sint Joost. Het gaat om een houten rek. Als zoon van een timmerman zie ik onmiddellijk hoe zorgvuldig dat gemaakt is. Een knoeier kan zijn fouten niet herstellen, maar Brand toont zijn talent door op de plek waar het mis ging met het verlijmen van twee stukken gebogen hout, de boel heel secuur op te vullen. Vakmanschap is belangrijk voor Brand en hij legt zich voortdurend toe op het zich eigen maken van wat hij skills noemt. Maar dat rek dus. Is het vormgeving of is het kunst? Ik heb het idee dat die vraag nu niet meer zo relevant voor hem is, maar tijdens zijn afstuderen speelde hij er telkens mee. Zou hij iets kunnen maken dat precies het midden houdt, dat vijftig procent kunst en vijftig procent vormgeving is? Het is maar wat je belangrijk vindt, denk ik even."

    Read
  • Lucky Men, Lucky Artists

    Gallerie Mieke van Schaijk

    a Chard of Waterfall
    Layers of resin with layers of paint; a reference to a waterfall as well as the quality that you can see through it - just like with a waterfall.

  • Speedy

    Canvas, oil paint, European oak, fabrics, blinds, 2015.

  • Blue Painting

    Canvas, oil paint, 2015.

    So, I painted an image, stretched a see-through canvas on top and painted once more on top of that. It seemed to me that the final layer of a painting is the decisive, finishing touch. So I thought it interesting to try and separate it from the rest of the painting and this is what I came to.

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