‘Selective perception’ can be described as ‘the personal filtering of what we see or hear’. This is my artistic point of departure. Not only our eyes tell us what we see, our brain also plays a big role. We can even say that our brain tells our eyes what they see. I try to show how we look at our environment and how we can look at it in a different way. Especially nowadays where we are bombarded with too much information - even more information in one day than the average person from Middle Ages in a whole life - a very small gesture or change in our ‘normal’ environment can be incredibly interesting and trigger very powerful memories. This can make the viewer more aware of the way we live our lives.
All the works I make are an poetical and symbolic investigation into the unclear relationship between everyday reality and science, history, myths and nature. I use observations on my direct environment, stories people tell me and known cultural and scientific heritage to question our perception of daily life. Making connections and foremost, contradictions to catch the attention of the viewer, and to put him or her in direct contact with the art work.
The environment in which a three-dimensional artwork is presented, is important. The work lives in the space surrounding it, in a way connecting with it, and starting a dialog. Therefore the viewer, being in the same space, gets directly involved, knowingly or unknowingly, with the world of the art piece. This connection, this space between the object, it’s surroundings and the viewer is what interests me. Something we maybe can’t see, but what we can imagine. I try to translate this into works that activate the mind and body of the viewer simultaneously. Although the first impression should be remarkable enough to get the viewer’s attention, unseen or concealed parts of the work are used to keep the viewer interested, and let him or her play an active role in observing.
When I start working on an art piece I make sure the material suits the concept or the other way around. Where there should be a connection and a dialog between the three-dimensional object and its environment, there also should be a dialog between the concept and the chosen material. This way the choice of material can differ a lot. Wood, Metal and ceramics are some of the main used materials. Styrofoam, plaster, glass or even asphalt are also not uncommon. The materials are usually processed by hand a few pieces though are cut by CNC-router or other computerised cutters.
To look and to watch are two very interesting yet very different things. When looking at an art work nothing will happen, when observing or watching the artwork however, something can or will happen. If it isn’t the object itself, it will be your brain telling your eyes.
An artwork can only exists if there is someone to make it exists.