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After graduating in the directions of painting, drawing and graphic art, I soon felt the need to work outside framed borders by creating (interactive) installations and environments
‘Triple Jump’ (1996) was my first large connecting interactive installation, exceeding the borders of the inside and outside space, causing a visible and audible interaction. It was build out of various ready made objects that held an aura of lost sentimental value. Like music records, Lenin books with bullet holes, a trashed door, polaroid pictures, a toy sheep and a painting from a second hand shop of the Mostar bridge that was bombed three years before, during the war in former Yugoslavia. All together it formed a landscape stretching through the entire exhibition space, connecting all other art works displayed, including that of the other participants I had asked to join the exhibition. In between these objects, including a mini installation created out of a record player, spot light bulbs were placed, lying on a plate. They lit up through the sounds of the city outside: this entered the space softly through a speaker. Outside, three objects in a small showcase attached to the building, got illuminated through the sound produced inside.
In 2011 the principle of sounds coming from the outside, effecting the light condition inside, was used in installation / environment 'Air'. Here the amount of noise inside affects the visibility of the three 'vistas' projected on the wall: The more noise, the less image, leaving the visitor confronted with the bare space, each other, the self. The position of the slideshows, existing of 942 photographs of sky and a small strip of rooftops corresponds with the original direction from which they were taken. They were taken by hand during a longer period, from an approximate equal position. Looking outside at the surrounding, the light, into the distance, towards the seemingly endless in which we find ourself is a very basic thing to do. And although the photographs show the most mesmerizing skies, here they exist within the limitation of an urban boundary.
My total installations come into existence through connecting. With 'Air' I connected space and place related issues with personal experience.
Each manifestation is in fact a fragment in time. So are most of my works. Although they function standing on their own, they become players in a chain of evolvement.
Aspects of actuality are worked out through painterly imagery and large, (site-specific) total-installations that often consist of several elements, which also are to be understood separately.
Their relation is not always obvious by their appearance. Everything is in motion and transitory. With my work I embrace endlessness.
I find inspiration while moving through space and time. I integrate day to day life and utilize found objects or moments, concentrating on details and systems within.
Starting out working two dimensional by painting, drawing and fine graphic art techniques, I liberated my art by working outside a set frame, after finishing art school.
During an artist residency at the Chinese European Art Center in Xiamen I did some public interventions at the crowded beach promenade using a large amount of pink Chinese clothesline. This resulted in the start of an ongoing project in which I create large site specific drawings.
These temporary sculptural interventions only stay in the mind of the people who experienced them, and of course by photo image. Photography has always played an important role in my life. I got my first camera when I was about five years old. By the time that I turned eleven, I spend lots of time experimenting in the dark room, printing my own photographs but also making collages using negatives I found there. I created contact prints with personal assets I had in my pockets in various constellations.
After introducing photography in my art work, by creating assemblages of paintings and objects I worked toward installations that contained photography and video work.
Introducing the moving image in my work, I saw myself entering the two dimensional space again so I worked towards presentations to make them part of space. For instance by using large magnifying glasses in front of monitors, to create extra layers.
At that time I got interested in virtual space. I always had some kind of surreal aspects in my work so I welcomed the internet as a space.
Doing a lot of collaboration projects back in 1998, I got the idea that we should take the art to the public. The next step was a mixture of digital virtuality, installation and situation art, combined with performances and public interventions. It was then that I started to use projection and beamed my work onto inner city buildings and show windows related to the environment.
The experiments on how to incorporate images in a spacial experience continue. For installation 'de-con-struct' I worked out an idea to spread images in several directions, using the possibilities of that particular site. This resulted in what I call multi-directional projection. It is to be taken further in next projects...