The Place Between My Pencil and the Paper (Stick Chart), 2018
Charcoal, coloured pencil and paper on montage of coloured paper, tape, glue 210 x 144 cm.
A stick chart, an old navigation tool, is drawn on a map that is based on a simple map of the Netherlands made in the sixties. The navigation tool casts a shadow and thus creates a blind spot, just as the place between the pencil and the paper is a place that cannot be seen.
Window Alert (Cuckoo), 2018
Acrylic on glass in front of pencil and pastel on paper, 140 x 100 cm.
Eht Htuom Fo Eht Yks, 2015
Unprinted etching plate, wood, steel, Brasso, 13.5 x 66 x 86 cm.
Study for Skin-and-bones, 2017
Digital print on baryta paper behind a glass painting, 151 x 101 cm. Special thanks to Jeroen de Haan.
Fourth Wall, a series of photographs combined with works on glass, is based on a short story with the same title.
Untitled (Perspective Study), 2015
Digital print from exposed photographic paper negative on paper, 24 x 17.5 cm, edition of 3.
The folded map Untitled (Map) gave me the idea of making a camera with multiple lenses. I quickly arrived at the simplest of all cameras, the pinhole camera. I made one with ten apertures. This image is the first good exposure of the window of my studio at the Rijksakademie. The object photographed was duplicated ten times by this camera. Now you can experience one object in ten different places at one time, by looking at this photograph. See also the documentation.
Mixing Colours, 2015
Gouache on folded paper, 42 x 29.7 cm.
Protection, 2017
Digital print on baryta paper behind a glass painting, 36 x 24 cm.
Fourth Wall, a series of photographs combined with works on glass, is based on a short story with the same title.
Mouth of the Sky [installation view], 2016
Project Rotterdam
Museum Boijmans Van Beuningen
13.02 - 07.08.2016
Photo: Lotte Stekelenburg
Floor drawing i.c.w. Anne Dessing
More installation views here.
Time Bombs, 2017
Inkjetprint on paper, 33 x 43 cm
Two Woven Thoughts, 2015
Pencil on paper, 29.7 x 21 cm.
Lacerate (F.L.T.R.: Navigating Through Double Landscapes/Desert/Kamal/Sand Painting in a Kiva Depicting Four Lightning-bolt Serpents), 2016
Montage, pencil, risograph, offset on paper mounted on coloured MDF,
83 x 59 cm.
Double Negative [Unprinted], 2016
Engraving in gesso, acrylic, gouache and pencil on colored mdf, 83 x 60 cm. Detail.
This work depicts a kamal. The work derives from the wish to make a double landscape, like a mirage can mirror a landscape. You can also see this work as an unprinted woodcut. A work that always carries the promise of another work, like a doppelgänger you have not yet met. If you were to print the work only the kamal would remain and the landscape would disappear.
The Place Between My Pencil and the Paper, 2015
Coloured pencil on unprinted woodcut block of black medium-density fibreboard, steel, 55 x 162 x 122 cm.
If this woodcut were to be printed, the drawn red line would not appear because it has not been cut into the wood. The line would remain invisible, in the same way that when travelling, you draw lines in a landscape that are not always visible. The black pattern cut into the wood was made by photographing Blueprint in eight different light situations to create a relief.
House of the Spider, House of the Snail, 2017
Paper pulp painting made of clothes behind glass negative, 40 x 27 cm.
Perspective Study, 2015
Digital print from exposed photographic paper negative on paper, 24 x 17.5 cm.
For quite a while I didn’t know what I wanted to photograph with the new pinhole camera with ten apertures. Finally I bought a stuffed, mounted cobra and photographed it. A living snake sheds its skin at regular intervals, and thus can see itself from a different perspective.
Perspective Study [overview], 2015
Wood, steel, acrylic on pinhole camera, digital prints, 123 x 80 x 250 cm
Not Agamemnon [front], 2015
Pressed paper pulp, steel, 165 x 60 x 45 cm.
This mask represents a whole series of falsehoods. I was looking for a mask of a sun god, and without doing further research into the background of this picture I assumed that I had found the mask I needed. I wanted to bring together a phenakistoscope and the mask in one image. After I finished my first version of the work my brother, who had just completed his exams in Greek, happened to drop by. He pointed out to me that it was not the image of a sun god that I had found, but what is called the death mask of Agamemnon, the Greek king who led the attack on Troy and succeeded in capturing the city through a plan made by Odysseus. The mask was discovered in 1876 by the archaeologist Heinrich Schliemann. He was firmly convinced that he had discovered the mask of Agamemnon, and that it proved that the accounts in Homer had actually taken place. Eventually it was proven that the graves where the mask had been found were 300 years older than the Trojan war. An artefact only seems to be able to withstand history by pretending to be something other than what it is, or, on the other hand, by disappearing, like objects which are found in tombs or under water.
The Place Between My Pencil and the Paper (Astrolabe), 2018
Charcoal, coloured pencil and paper on montage of coloured paper, tape, glue 210 x 144 cm
An astrolabe, an old navigation tool, is drawn on a map that is based on a simple map of the Netherlands made in the sixties. The navigation tool casts a shadow and thus creates a blind spot, just as the place between the pencil and the paper is a place that cannot be seen.
Coat Stand, 2015
Acrylic on steel, wood, 172 x 50 x 53 cm.
A coat stand is closely connected with the passage of time. You hang your jacket on it, fill the time with various activities, and then come back for your jacket. It is an object that represents a timeline. This coat stand is made from the steel frame of a table. The colours are based on the work Prism (Pseudonyms), in which a hand is lit with three different coloured lamps. New colours are created by the refraction of the light.
Untitled, 2013
Digital print on paper, 10 x 13.8 cm.
Untitled (Map), 2007
Refolded map through which a hole has been made, 28.5 x 16.5 cm.
By folding the map, places are connected with one another. Places which otherwise would never come close to each other, just as layers of earth are connected when you drill a hole in the ground, or distant places can seem close in your thoughts. I folded the map in this way for the first time in 2007. I forgot about the map for a while, until I found it again this year. Suddenly I saw an analogy with the way a camera works. Like this map, a camera can assemble places all at one point, and thus, as it were, fold space. The map, which depicts a three-dimensional space, has now become spatial itself.
Folding One to One, 2015
Folded photographic paper, 24 x 17.8 cm.
Cheeks, 2015
Coloured pencil on paper, 15.5 x 12.5 cm.
Blueprint, 2015
Pencil on paper, 42 x 29.7 cm.
I folded this sheet in a particular way and then made a hole in it. It is a test sheet, a blueprint, that I have used for a lot of new works. It is based directly on the folded map. You can see the lines of the folds as abstract boundaries and the holes as places.
Graveyard Spiral, 2015
Coloured pencil and pencil on paper,
29.7 x 21 cm.
Nachtatlas, 2017
Cyanotype, giclée print, photogram, gouache and coloured pencil on paper, 170 x 115 cm.
Still of One to One, 2015
Cyanotype on paper, wood, steel, 174 x 110 x 77 cm.
A cyanotype print can fade, but it has the unique property of regaining its original colour if left in the dark for a time. Cyanotype is a photographic process, often used to reproduce drawings without the use of a camera, which after developing produces a cyan/-blue image; hence its other name, a blueprint.
A B, 2015
Felt pen and stencil print on paper,
29.7 x 21 cm.
Office Chair, 2015
Office chair, steel, wood, 100 x 100 x 100 cm.
The Bárány chair, named for the Hungarian physicist Bárány Róbert, is a chair that is used during pilot training. I have adapted my old office chair so that it can be used as a Bárány chair. During their training, student pilots are spun round in this chair. When blindfolded, you no longer feel the rotation after several minutes, but instead think that you are moving forward. If you place your head on the rail and the chair is stopped abruptly, your body will uncontrollably move backwards with a jolt, and your arms will dart out into space.
Garland [front] [installation view], 2015
Silk-screen and gouache on paper, steel, magnets, 100 x 140 cm.
Photo: Joppe Venema.
Dust Jacket, 2014
Colored pencil and charcoal on paper, 180 x 150 cm.
Fruit Market I, 2017
Soot on glass, gouache and pencil on paper, 37 x 27 cm.
Fruit Market I and II are both made using heat. Fruit Market I consists of a cliché verre negative placed in front of a drawing. With the cliché verre technique a glass plane is blackened using the flame of a candle. Afterwards one can scratch in the layer of soot which can than be used as a negative.
Fruit Market II, 2017
Lasercut in wood, 37 x 27 cm.
Fruit Market II is made by burning a drawing in wood using a laser.
Body Language (Positives), 2014
Body Language (Positives) (acrylic on wall, variable size) depicts a reversal film. The work is based on 35 photographs of a light streak sign. In each photograph I tried to repeat the sign as precise as I could.
Lacune, 2011
Screen print on 70 x 100 cm paper, edition of 10.
Lighthouse, 2012
Lighthouse (HDCAM, LtRt Dolby digital sound, 18'31”) is a short one-shot film in which the natural light is changed three times without use of cuts or time-lapses. The camera follows the protagonist, a son who resides with his father, in a large labyrinthine house. During his restless daily rituals he is guided by the change of the light outside. The house in which the protagonists find themselves seems to revolve according to its own rhythm. You can watch the trailer here. Credits.
Tussenruimte 5 [installation view], 2014
Temporary space-filling mural during RijksakademieOPEN 2014.
More information about Tussenruimte here.
Installation views can be found here.
Photo: G.J. van Rooij.
...Thought, There Was No Ground, 2014
Coloured pencil and dirt on paper glued to a wall, variable size.
A Book With One Page, 2014
Coloured pencil on paper, 70 x 50 cm.
Chords & Intervals, Floppy Key to the Fields, 2014
Image transfer on wall, variable size.
Hole, 2013
Hole, a hand-drawn black and white animation (HD, Dolby surround sound, 4'46"), shows several subterranean landscapes. Places that can only be illuminated by human intervention. The film is made by drawing on half transparent sheets. The drawings were based on (found) photographs of caves all around the world. These sheets were placed above an LCD screen - showing films of natural light: aurora, lightning, sunrise. By photographing the set-up frame for frame, these two layers came together.
Light Streaks (Unprinted)
[detail], 2014
Engraving in MDF wall, variable size.
Between Two Pages, 2014
Acrylic, acrylic marker and coloured pencil on wall, variable size.
Chinese Whispers I, 2014
Screen printing ink on wall, variable size.
Multi-headed Animals (I, II, III & IV), 2014
Acrylic and pencil on wall, variable size.
One to One [detail], 2015
Coloured pencil on wall, 300 x 400 cm.
I drew this pattern directly on a wall within an area of three by four meters over a period of two weeks. I had made a rule for myself: as soon as the two weeks were over, I had to put the pencil down. I wanted to make a map that did not represent a place, but rather the time that I had stayed in that place, in which the time would determine the composition of the drawing. Installation view at Van Gogh Museum. More information here.
A Map With One Hole (Back), 2014
Acrylic on wall, variable size.
Plateaus, 2011
Plateaus is a flipbook (photo copy, 9 x 14 cm, 176 pag., edition of 10) about a person who dives into the water. Underwater he stumbles onto a big rock which appears to be the head of a statue. Plateaus is made with a Super-8 underwater camera. The 166 frames of the film are printed and manipulated with water. These wet prints were then stacked into a pile, absorbing the ink of the surrounding prints. In this way they have further affected each other in a organic way.
Ox for A, 2014
Acrylic on wall, variable size.
Comma, 2014
Comma (acrylic and image transfer on wall, variable size), is a still from an unfinished 16mm film. In the film several characters are unmasking a mask (made by Miloš Šedivý) under which they wear a second mask. After I filmed these actions I manually erased all the backgrounds with black ink directly on the film strip. This refers to a technique used in the early days of film, called an in-camera matte shot. A glass plate with a black matte painting was put in front of the lens so the actor is separated from the background. By using this technique you could double expose the film with any environment you want. Credits.
A Book With Two Rooms, 2014
Image transfer on wall, variable size.
Body Language (Negative), 2014
Body Language (Negative) (acrylic marker on wall, variable size) is the original sign I replicated in Body Language (positives).
Concentrated Ocular, 2007-2014
Image transfer on wall, variable size.
Nomade, 2012
Nomade (artist book, stencilprint, 19 x 14.4 cm, 104 pag., edition of 25) is a collection of short stories and pencil drawings made over a period of two years. Various drawings from Nomade were silkscreened. These seven prints form their own story called Lacune.
Prism (Pseudonyms) I, 2014 - present
Image transfer on wall, variable size. More information about the Prism (Pseudonyms) series here.
Mukhayyar, Mohair, Mouaire, Moyre,
Moire, 2013
Screen print on paper, 100 x 70 cm, edition of 4.
One Book Reduced to One Page, 2014
One Book Reduced To One Page (shredded first edition of De Aleph by Jorge Luis Borges translated by A. Sillevis published by De Bezige Bij in 1964, water, variable size) is made by putting a book in a blender. I pressed the book pulp directly on a wall.
A for Ox, 2015
Pencil on paper, 21 x 14,8 cm.
Two Words, 2014
Coloured pencil on wall, variable size.
Object of Bound Magazines, 2014
Image transfer on wall, variable size.
Continuity Girl, 2014
Image transfer on wall, variable size.
Chinese Whispers II, 2014
Coloured pencil on paper, 70 x 50 cm.
Year (Travel Journals), 2013
The drawing Year (Travel Journals)(black pencil on paper, 100 x 140 cm) depicts an abstract space with five sides. For each side I used a still from five filmed train trips. These stills were put in perspective.
Untitled, 2014
Screen print in collaboration with Koen Taselaar on high gloss paper , 100 x 70 cm, edition of 2. Part of a series of 8 screen prints.
Cicade, 2011
Cicade (HD, stereo sound, 1') is a black and white animation based on the life cycle of the cicada. Cicadas spend their long lives as larvae, silent and immobile, underground. Then thousands of larvae emerge collectively, drawn by a internal clock, from holes in the earth. Within hours, they become hyperactive flying adults, whose courtship calls make them the loudest known insects. Two months later, the adults of that brood will all die, leaving behind eggs that will hatch to become a new underground generation. One that will emerge again in 13 or 17 years.
[detail], 2014
Glass paint on window, variable size. .
Braille [detail], 2014
The story Tussenruimte in braille. A lot of the images that Tussenruimte contains are based on this story. Embossed in 100x70 cm paper glued to a wall.
Morse Code, 2014
Morse Code (acrylic and screen printing ink on wall, variable size) depicts a detail of a screen. A medium and a barrier.
Folded Face, 2014
Folded Face (hand-drawn black and white animation, HD, silent, 2'57") is a short animation that shows two opposite movements at once: a close-up of a face gradually zooming out and a journey from sky to ground. Credits.
Mapmaking, 2014
Acrylic and coloured pencil on wall, variable size.
Monument, 2009
Monument (DV-PAL Anamorphic, stereo sound, 3'11") is a study for the film Echoes.