A selection of current work
I find the essence of beauty not in perfection, but rather in the subtle traces left by time: the scars and irregularities that lend a work its authenticity. Through the dynamic interplay of building up and breaking down with colour and texture, the history of the work – the underpainting – remains deliberately visible.
‘Anatomy of a kitchen table’ has its origins in a sense of wonder at the everyday. The work is inspired by Paul van Ostaijen’s poem ‘Marc greets things in the morning’, in which simple objects are not merely objects, but take on a living presence through the attention paid to them. His experimental language, unexpected sentence structure and playful subversion of meaning form the starting point for this painting
‘Anatomy of a kitchen table’ 120x100cm mixed media on linen
In ‘Rhythm of nature’, an interplay of shapes, lines and colours unfolds, evoking the constant movement and transformation found in nature. Organic forms seem to spread across the canvas, coming together and then dispersing again, like growth processes or natural cycles that never stand still. The painting does not offer a direct representation of nature, but rather depicts its energy.
‘Rhytm of nature’. 110x140cm mixed media on linen / aluminium frame - 2026
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‘Rhythm of nature’140x110cm mixed media on linen:
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‘Botanical revolution’ explores how memories resurface unexpectedly. Not as an exact reconstruction of the past, but as fragments evoked by a present-day observation and given new meaning in a different context. What once seemed forgotten returns in a different form. What we think we see is not necessarily what is actually there, but what our memory adds to the image.
‘Botanical revolution’ 120x90cm mixed media on linen
A moment often lasts but a fraction of a second. Yet it is precisely such a fleeting experience that can unexpectedly evoke a memory. A particular colour, a shape, a rhythm, or a combination of these that is almost impossible to put into words can touch something stored deep within the memory.In an abstract painting, that recognition is never unambiguous. What one person sees, another does not. Everyone brings their own experiences, memories and associations to the work. As a result, the image does not acquire a single fixed meaning, but is created anew each time in the encounter between the work and the viewer.*The Past of a Temporal Moment* explores this remarkable phenomenon: how a fleeting visual moment can become connected to something from the past. Not because the painting depicts something concrete, but because it leaves room for personal memories and associations.
‘The past of a temporal moment’’ 100x100cm mixed media on linen
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With the painting *The Other Side*, I explore the space between what we see and what we think we understand. Just as a word can have multiple meanings, so too does an image never have just one interpretation. What seems self-evident at first glance may, on closer inspection, have a completely different origin or meaning.
At a time when judgements are often formed more quickly than questions are asked, this painting invites us to slow down. Not to seek an explanation straight away, but to leave room for doubt, nuance and the possibility that there is always another side to the story.
The work provides no answers. It poses a question: Is my interpretation the only one possible, or am I prepared to look at the other side as well?
‘The other side’ 80x100cm mixed media on linen
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‘Temporary view’ acryl op linnen 100x120 m
Some images last but a moment. An unexpected convergence of shapes, colours or objects, glimpsed by chance through a train window or whilst out for a walk. Even before we have fully taken them in, they have already vanished. Yet it is precisely those fleeting moments that often linger in our memory.With *A Temporary View*, I explore this transience of the act of looking. Not everything can be captured, and not everything needs to be understood immediately. The painting therefore demands time. Time to look again, at a different time of day, in changing light. A work of art has no fixed form; the light constantly reveals a different painting. Light is not what illuminates the work, but what brings it to life time and again.In *The Ponds*, Mary Oliver writes: “the light is everything.” That thought resonates in this work. Perhaps the meaning lies not in a perfect representation, but in the willingness to be moved by something that reveals itself only for a fleeting moment. Sometimes a fleeting glance is enough to leave something lasting behind.
Still, what I want in my life
Is to be willing
to be dazzled-
to cast aside the weight of facts
and maybe even
to float a little
above this difficult world
I want to believe I am looking
into the white fire of a great mystery.
I want to believe that the imperefections
are nothinf-
that the light is everything -
that it is more than the sum
of each flawed blossom rising and falling.
And I do.
‘The Ponds’. from Mary Oliver Hour of Light 1990
Fragmentend Landscape 90x120cm
"Fragmented Landscape" is an abstract meditation on what it means to live with complexity. Composed of layered forms and muted blues, creams and earth tones, this work feels like a map of a place you almost remember – part architecture, part terrain, part memory.
'Fragmented Landscapes' does not dictate any particular narrative, but leaves room for your own story. For collectors seeking art that reflects the layered, in-between quality of modern life, this work becomes a daily reminder that even our fragments can grow into a whole.
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