In contemporary art there is much experimenting with processes that create chaos through logic. This often finds its origin in the question of why we make art. The undefined of making art arouses amazement because it is elusive. And it’s that what is undefined, that is usually the personality of the artist himself. Today we see that many artists are struggling - by an excess of information and impulses – with the vague basic principle of art and are in search of what they should make art about. Nowadays the issue of acting or reacting is often left to machines or simple algorithms to create a unique piece of art. This is an obvious tactic to dissociate the own identity within the artwork, and is clearly questioning the impact of the artist’s commitment. Initially my work originated from the statistics of by example the deforestation of the Amazon rainforest, or the overfishing in the North Sea. It started with a clear theme, which got an abstract and transcending meaning as a result of controlled coincidence. By means of incomprehensible graphics, this information was converted into abstract line drawings. The error rate in this process was the basis of what would eventually become a work of art that only mentioned the commitment of its origins in an abstract way. By using the same data in different ways all my drawings where linked strongly to one another . This created a circular movement in which each drawing was a vital link. A drawing could be perceived independently, but was essentially a puzzle piece of a larger whole. Each work shows us a different system which contains certain data. The system is unreadable, the clarity of the system is irrelevant because the information it contains is known by all.
Knowledge and awareness, two words that contain the same meaning in theory, but in reality occur more as opposites than as accomplices. This work is about the lack of awareness, but even more about the impossibility of consciousness. The way in which the abundance of information forces us to shield ourselves from reality because the full awareness of the significance of this information would crush us. The work comments on the system, but also shows the inability to exit the system. In this way the work is politically engaged by questioning the usefulness of politically engaged art. In my latest work I tried to use a different approach. In contrast to my work of the last few years, I now use my graphic language and abstract design, without statistics or charting, to create a more personal story. I use my everyday experiences, or childhood memories as a starting point, often these are framed instances that would go unnoticed in their original context. I combine different media in a space-filling sculptural drawing, which responds to its surroundings.I try to approach a wide scale of subjects in a multi-layered way and like to involve the viewer in a way that is sometimes physical. In my work it is hard to say whether form follows function or function follows form, I attempt to find a compromise between those two concepts. I now search for the connections that are already there, instead of deliberately creating the links between my various artworks