As
a basis for my work I use wood and paper. I usually act
simultaneously on fifteen or twenty works. This procedure gives me
the possibility to maintain a certain psychic distance from my works.
By superimposing layers of resin and flowing colors, a depth is
created that reinforces the intention to create works that can be
read on different levels. Working in parallel with several works
makes it possible to put aesthetics in the foreground: the goal I
aspire to, is to bring form and colour in tune, to achieve harmony
and balance that becomes perceptible to the viewer and where the
sense of beauty plays an important role. Confronting this complex
theme shows that the boundary between beauty and ugliness, between
harmony and dissonance can be very blurred and it is in this grey
area that I feel at ease. The same is true for
concepts such as abstraction or concretion: how much can shapes or
colours be in contrast with each other, holding each other side by
side or even strengthening each other? How long can you mix planes
and layers before they are no longer readable as something
figurative?
