Auto-egography: I am not convinced about most of my works 'an sich'. Their value lies in the insights I get by constructing them. The directions that I take, depend on my own interpretations afterwards. It seems as if I’m seeking for the fundaments of truth in how we perceive things. At this moment, I am focussing on the technical duality-polarity paradox and the functionality of absolute knowledge, within that paradox.
Example, based on my findings so far: Knowledgeless seems to be more absolute than to knowledge, because of fraud. That defines perception as polar, instead of relative or absolute. In addition, we seem to prefer a culture that constitutes fraud by plausibly denying it. This strategy of denial (i.e. everyday versions of innocent until proven guilty) generates a target group by the hallucination of a moral standard, in order to trigger self-suppression motivated by the wish to be a constructive part of society. The earlier mentioned 'polarity in perception', therefore seems to distinguish the role of suppressor v.s. the suppressed. Each polarity pragmatically plays a double-role that appears to either invests in the plausibility of the self, or damages the plausibility of the other. To my analyses, the double-role chooses the main subject of the other (i.e. someone’s job or marriage, etc.) to attack its moral plausibility. The other most likely does the same in return. Hence duality as a cultural appearance of relativity. This variety of polarities that intertwines with a constantly changing variety of subjects accompanied by different motives (defense, offense), is where my works have lead me (see: image down below.)
Focal point in my early works has been the rationalisation of the daily living environment. The intuitive installation ‘landscape of emotion’, symbolised by my fear of spiders, articulated the emotional emptiness of an environment, once the spiders were removed. In the works that followed, I investigated the human motives of doing so (i.e. to rationalise the environment.) These investigational works [Luxury, Jesus, Mona Lisa] confronted me with polarity as an important and reliable part of human nature. By means of my next works I embraced this confrontation in order to further examine them [Lie-schemes, Screen saver & advertisements, UNIS-helmet].
This made me realise, that this culture of polarities is pragmatically used for various motives (see above). Thereby creating an unidentifiable wirwar of polarities. This holistic mixture of seemingly unrelated values, undermines the unifying element of each polarity, thereby causing the false impression of dualities. As a result, this cultural vortex of intertwining polarities and supposed dualities disables orientation of the self in its context [What's wrong with Pfizer funding an art community? Moral relativism, Moral.] I believe a present day example of caused by this disorientation can be witnessed by the populists #-tendencies that (whose double-roles) demand a perfectly controlled world without lies and injustice.
When I started to further focus on this spectacle, I was intuitively drawn towards the landscape as a medium. At the same time I was moving to Iceland for one year, to work as a visiting professor at the university (landscape architecture and urbanism). One of my goals was to perceive artworks with the purpose to resemble the act of nature, instead of dominating or copying it. This resulted in the works Mimic.
Exhibitions: NDSM Loods BrabantsMuseum W139 (performance) Maison Descartes (incl. lecture) NDSM open (invited guest artist) NDSM werf (commissioned artwork in the public space of Amsterdam) EYE Filmmuseum (official opening Amsterdam Museum-night) Schouwburgplein, Rotterdam DeBalie OHK
Educational activities: 2019 Visiting professor University of Iceland, Urbanism/landscape architecture. 2011-2014 Lecturer in City Analyses (part time). 2009 Technical University Delft, graduation teacher (on request by various students.) 2004 Teacher international design program, VanHall/Velp. 2004-2014 Part time lecturer at various Academies of Architecture and at the University of Breda.