All is about nothing and nothing is about all. If all is nothing other than assumable facts, it is naiveté that stretches along the lengths and widths to synchronize with something new: dream, myth, theory to fantasy, there is no archetype.
Alles gaat over niets en niets gaat over alles. Als alles niets anders is dan aannemelijke feiten, is het naïviteit dat langs de lengten en breedten rekt om te synchroniseren met iets nieuws: droom, mythe, theorie tot fantasie, er is geen archetype.
Presently living in Maastricht (NL). With a background in graphic design studies in Eindhoven (NL) (2006-2010), in posession of a bachelors degree in fine arts (2011-2015) in Maastricht (MAFAD) and master degree in fine arts (LUCA) in Brussels (BE) (2015-2017).
An anemometer installed indoors imitates weather conditions, indicating - yet withholding the typical sensory experience of wind. Whether it mimics or reflects, it generates an illusory perception that, in an ironic manner, comments on our ways of measuring and taming natural phenomena, using a device that we have come to trust blindly.
(...) so we're square
A play on Gustave Courbet's L'origine du monde (1866) and Krazimir Malevich's Black square (1913/15), mediating between medium and reference, between realism and suprematism and, allegedly, masculinity and femininity.
Signs and countersigns are commonly used, in military terminology, when two forces find each other and need verification of their status as friend or foe. A speaker, buried in the ground and covered with foliage, whispers the sign, (en)lightning, while the countersign, thunder, is contained in the title of the work, inciting an understanding between spectator and (often esoteric) artwork.
constellation (no. 1-3)
In the context of getting to know the physical construct of the W139 art space in Amsterdam, along with its conceptual frame, the week-long build up resulted in the delineation of various perspectives on the relation to- and with the art space. As a consequence, the subjects covered have echoed the generic emotions such as doubt, happiness, fear, love and hate. Embedded in the spatial context, the works could not outlive the duration of the show.
No. 1 formulates a literal take on perspective: lacking side panels, a professionally installed modular ceiling hovers between the original ceiling and the ground floor, gaining and losing credibility of the new situation it proposes to the original situation, depending on one's position relative to it. Every day a different tile would be lifted from the modular ceiling, uncovering fragments of what the installation has been hiding.
No. 2 makes use of Roos Wijma's sound piece, more specifically of the brackets that attach the equipment to the walls. The excess of options (in form of the holes) reflects a physical deliberation of the instalment of the work. Whether the options have actually been considered is irrelevant at the time the decision is made. The spatial distribution of the holes corresponds not only to the characteristics of the brackets elucidated on the walls, but also to the neighbouring holes, much like constellations, or signs, seen in a night sky.
No. 3 is a play on our perception of certainty, or the certainty of our perception. On construction sites newly installed windows would be marked with crosses made of tape, as to say, undoubtedly, there's a window here. In the work, this established marking enhances our certainty about the marked window's existence, while simultaneously questioning the credibility of the unmarked ones.
untitled (or smallTALK II)
A film that, by means of repetition (4.33 minutes, loop), tries to uncover the poetry and the ambiguity of banal conversations one can have while driving late at night, towards something that is always ahead. The footage of the road is interrupted by a one minute stop at a gas station, where an anonymous figure stares at the cars passing on the freeway. For a short period of time we climb out of the stream of the freeway and we overlook something that we were part of moments ago and will be again soon. It is at the gas station where the role of the camera is also being questioned: is the woman figure we are looking at the protagonist of the film, who is having a hypnotic monologue with herself while driving, or are we seeing the antagonist seen through the eyes of the protagonist? And if so, what would make that of the viewer?
A digital alarm clock is configured to only display prime numbers where the chronological elapse of minutes normally occurs, whereas the hourly chronology is left unaltered. This work tries to deal with our continuous consultation of time as it implements the absoluteness of prime numbers within the relativity of time.
An abstraction of the documented movement found in 64 of the most (in)famous chess matches played in the last 200 years.
The act of giving and receiving flowers is to project on them what cannot be said.
An ex machina of social relationships: they're attempts at reconciliation reminding us of a common place amidst nature. Ensuring us that also sorrow wilts.
the world is flat #screen
A paradox surfaces when receiving the world via screens; grasping an entirety as the world - whatever that may be - would imply that the screen - by being part of that world - evidently shows itself as completion of the cycle. It forms a commentary on both the illusion as well as the actualization of a high definition globalization.
the sustainable life (of)
A variety of medicinal and supplemental pills are situated as the twelve constellations of the zodiac belt. A thirteenth constellation is present: Ophiuchus, the serpent bearer. An interesting one considering the fact that it forms the basis for an ongoing and inexhaustible dialectic between astrologists and astronomers. It marks the de-spiritualization of, and uprising against fate.
The increase and decrease of the intensity of the moon cycle is synchronized with that of the female ovulary cycle and printed onto two strips of birth control; an imaginative manner of trying to understand these recurring events.
love is knots
A remarkable quality of an electric cable is its promise of activation once we see it plugged in. We trust it to direct power to something, somewhere. Here, by its own characteristics, it promises the activation of itself as it mimics a knot that used to symbolize love.
things I must dimention
The measurements of a room in a rundown building were taken in order to produce twelve wooden beams to form a rib structure; four beams to represent the room's height, another four for its width and the last four to represent its length. These beams were -performatively- carried through the stairways up to the top-floor where the room was located. After the exhibition the beams were carried back to the studio on the other side of town.
The displacement of the room belonging to a-soon-to-be demolished structure was to gain insight in manoeuvring measurements within measurements and to establish a (if you will) meta-existence.
pedestal study no.7 (1 x 702 x 1 ft.)
A square foot of grass was taken from the highest point of the Cliffs of Moher in Ireland, 214 meters above sea level, or 702 feet. It was placed on the floor where it proposed to be a pedestal remaining its original height.
pedestal study no.5 (eisegese - exegese)
Hinges placed between the five parts that make up a pedestal in order to emphasize the symbolic meaning found in its preassembly. Potential in either way, it fluctuates between function and symbolism.
pedestal study no.4 (swansdown white on pedestal)
Swansdown white refers to a light-grey paint often used in galleries and museums in Ireland. Working there on a project at the time, the pedestal's top was painted in Swansdown, and placed outside, where it faced the rainy November months. It was a focus on the expectations regarding the pedestal whilst here it can only shows us its piety.
pedestal study no.3
The act of ordering a cardboard box on the Internet was both a comment on the overall ease as a circumventive take on the usage of pedestals in exhibitions. Side note: the cardboard box was delivered inside of a cardboard casing.
pedestal study no.2
While planning a work in a rundown building that was the basis of a group exhibition in April 2014 (This is where we should start feeling at home), there was a wooden box that concealed a pressure valve protruding from the wall. Plagued by rot after decades of service the covers were replaced with fresh wood. After returning to work as planned a (personal) revelation took place: this box that had its function diverted by concealing rather than displaying was the pedestal all along; something designed and placed by an external factor. The only thing left to do was to suggest a legible placement for the exhibition.