DunkelfrisstLicht

The project DunkelfrisstLicht (darkness eats light) focuses on the interaction between two inseperable contrasts. It is the basis for our perception, upon which everything rests. Darkness and light are as distinct from one another as it is possible to be - and yet eternally linked to each other. There is a never-ending struggle between these contrasts, with darkness swallowing light or light the darkness. The work aims to adress this interaction and present it to the observer.

Main symbol of the project are the basins filled with waste oil into which neon tubes are lowered. The point where the neon tubes vanish into the oil is an exact cut between light and darkness, all light underneath the oils surface is swallowed. Light comes from the darkness and dissolves within it. This fundamental thought rests in each work of the project.

2015-2016

2015-2016

The elusive nature of human perception

elusively human

subjective mingling

reality into realities

perception with interpretation

fulfilling expectations

denying them

merging to a coherent whole.

Many thanks to Miriam Gonnissen for the help and collaboration in creating this work

Drawing

Feeling for myself and my surroundings, for the society in which we are living, is the basis of my work. I am constantly observing and reflecting. The examination with mankind, his systems, thoughts, feelings, the contrariness of the human being always pours into my artwork. I want to transfer a thought or a feeling into my artwork, I am not only creating an object, I rather distil something unseizable into an piece of art.

The drawings, sculptures and objects I create evolve from a very concentrated and often repetitive process. An almost meditative act, a sequence which is just as part of the work itself as the feeling and idea that goes in it. I am collecting thoughts in an object or allowing them to vanish into it. I treat hundreds of wires until something comes into existence, until something bundles from a concentrated flow. I am always searching for an organic vibrancy in my work, for an aura that is subtle but still present, more to be felt than to be seen.

Sculpture

About my work

The basis and inspiration for my work are my feelings, feelings for myself and my surroundings as well as for the society in which we are living. I am constantly observing and reflecting. The analysis of mankind, its systems, thoughts, feelings, the ambiguity of the human being always contribute to my artwork. I want to transfer a thought or a feeling into my artwork, I am not only creating an object, I rather imbue a piece of art with an intangible quality.

The drawings, sculptures and objects I create evolve from a very concentrated and often repetitive process. An almost meditative act, a sequence which is as much part of the work itself as the feelings and ideas that leave their mark on my pieces. I develop my thoughts into an object or allow them to melt into it. I work with hundreds of wires until something comes into existence, until something emerge from a concentrated flow. I am always searching for an organic vibrancy in my work, for an aura that is subtle but still present, more to be felt than to be seen.

Alles in Fluss

“Alles in Fluss“ deals in form and content with thoughts about transience and the fact that change is the essential characteristic of all existence. “Alles in Fluss - everything flows“ is a traditional phrase by the Greek philosopher Heraclitus, carrying, in all its simplicity, the meaning behind the work. This thought lies within all the final objects, perceptible in the concept, the design, the material and likewise in the way the objects are created. The main idea of the project was to form light objects with completely built in illuminants. The light is a temporarily finite function of the object, when it goes out, there is no possibility to change the illuminant without destroying the piece.

Thus the light obtains a special significance. With every minute the object is glowing, its lifetime is reduced. This fact establishes an analogy between transience and the work, revealing the worth of time to the observer. This thought is also carried by the materials used for the objects. The combination of cotton fabric, steel and concrete, as well as the way these materials are treated, transmit a very organic feel to the pieces. Wear and tear are part of the work, the steel reveals this through the existence of rust, the cotton fabric fades and gets soiled, that way it absorbs time. Free and unforeseeable creases and flowmarks occur as a result of merging the fabric with the concrete and visualise the fluent character and the constant change which is inherent in each object. A further notion of the work is the critical reflection on the pervasive planned obsolescence of our durable goods. Thoughts about unbridled consumerism and endless economic growth are transformed into the work and put in context with the cycle and general balance of our world.

Alles in Fluss - Book

Design and photography in collaboration with graphic designer Reinhard Schmidt

"Alles in Fluss" deals in form and content with thoughts about transience and the steady change of all existence. „Alles in Fluss - everything flows“ is a traditional phrase by the greek philosopher Heraclitus, carrying, in all its simplicity, the meaning behind the work. This thought lies within all the final objects, findable in the concept, the design, the material and likewise in the way the objects are created. The main idea of the project was to form light objects with completely built in illuminants. The light is a temporarily finite function of the object, when the illuminant dies out there is no possibility to change it without destroying the piece.

Thus the light obtains a special significance. Every minute the object is glowing, its life time is shortened. That fact establishes an analogy between transcience and the work, revealing the worth of time to the observer. This thought is also carried by the materials used for the objects. The combination of cotton fabric, steel and concrete, as well as the way those materials are treated, transmit a very organic feel to the pieces. Traces of time are part of the work, the steel reveals it through the existence of rust, the cotton fabric fades and gets soiled, that way it absorbs time in itself. Free and unforeseeable foldings and flowmarks occur as a result from merging the fabric with the concrete and visualise the processual character and the constant change poured in each object. A further notion of the work is the critical reflection on the pervasive planned obsolescence of our durable goods. Thoughts about unbridled consumerism and endless economical growth ran into the work and put in context with the cycle and general balance of our world.