The secret rules of engagement
work in progress
In ‘The secret rules of engagement’, I break new grounds with an installation. My point of departure is the apparent visual aspects in traffic regulation being touched by unintentional human interaction. I disconnect the bold signs of demarcation and authoritative configuration of traffic regulation (to guide, regulate and control) from its context and tuck it into a serene and musingly atmosphere of self-government. Per contra, the matrimonial and mystical reference in the work stipulates that, far and away, we are all committed to alliance and seek for secureness and belief.
By using the multidimensional character of space, the rhythm of order and ranking and the articulateness of rituals and symbolism, I intend to give the work the appearance of the enigmatic constitution of objects in the teeth of its imperative genesis. The upheavals in the work from the practical root to its dreamy derivative, thereafter anchored into the ritual sculptural corpus, threatens to rob all meaning in the work, at once nurturing the notion of cognitive dissonance. The installation takes on the magical effect of spatial contraction and concepts such as itinerary, intersection, centre and monument that defines public space and fetches it in a ravelled and sedative shrine.
slimmed down version*
Unseen Amsterdam 2022
*In the full version the setup varies upon the setting of display. Core of the installation is an altar-formation that is configured by mutiple stacks of tiles similar to the installation view you can see above. In front of the altar there will be two eye-shaped car lights on traffic poles. The 'car eyes' blink on the speed of a regular eye blink. If people come close to the installation, that blink changes into a flirt-blink. (see below, work in progress)
The hazy bourgeois paradise of conventional thought
work in progress
My background as a cognitive psychologist makes that I think that what we see and experience is profoundly made up of association of memory and reference to metaphor. A construct that is always in relation to and in negotiation with otherness. Our memory and notion to metaphor is therewith not a constant factor but something that changes upon the -shared- experiences we have during life and how these experiences are conditioned.
In the series ‘The hazy bourgeois paradise of conventional thought’, I let off the concept of conditioned memory by picturing motifs that relate to symbolism, sameness and liminality to stir up the realm of metaphor and meaning. By making use photopolymer gravure with its rich tone and texture and the use of photographic techniques such as dazzle, grain, odd exposure and camera artefacts, the aesthetics of these cliché motifs in the pictures are being set in a hazy, displaced and ambiguous borderland. The works are no special pleas, nor denials to metaphorical thinking and meaning. It’s a modest and serene aesthetic built onto the dominant ostentatious current of the platitude.
Dancing with the big boys
Beside being an artist, I also work as a digital designer. It brings me to offices with its specific rules, practise and procedures. Usually a patriarchal society where uniformity is leading. Once a colleague advised me to 'dance with the system', another fellow worker recommended to 'play the rules'. Not sure I am capering well in the office apparatus, but its decor always fills me with amazement and gave birth to this triptych.
I got to go
Every scenery has its rhythms and rhymes. Also the art scene where its people are divers, while the galleries usually have a clean, minimalistic and serene decor giving room to art at its utmost. My tendency to withdraw from the scene and my aptness for patterns and regularities makes me pay attention to other things then the art and its people in galleries.
Tryptich and dyptich exhibited at booth Josilda da Conceição gallery on Unseen Amsterdam 2022
Here and there a woman passed by,
here and there a man,
rarely a couple
In the serie “Here and there...’, I dive into the dynasty of fiction, the theory of imaginary things created by our mind to entertain ourselves. I used to struggle with the holding capacity of photography. A photo is an image of something real. Therefore photos can easily be seen as facts, as theories that can be proved in real life. It’s hard to beat that matter. Nevertheless, I am convinced that fiction plays a -major- role in almost every picture. Reality is in the eye of the beholder. What we see can be customised as per our own choice. In this serie, I mess around with these concepts of fact and fiction.The title ‘Here and there a woman passed, here and there a man, rarely a couple" is a textual reference to the photos. However, the images are highly suggestive and have an air of suspicion provoked by basic photographic elements such as form, focus and light. By adding (spray) paint or pencil to the photos, I aim to build up a fictional tale that triggers the imagination of the viewer.
Parts of the series have been exhibited at Unseen, Josilda da Conceição gallery and Ingrid Deuss gallery in 2021 and 2022.
It's, oh, so quiet
Today, society embraces sharing like never before. Fueled by our dependence on mobile devices and social media, we have created an ecosystem of obsessive connection. We are always linked. Being a loner, not something that I am always comfortable with. I switch off, go cycling or put picture on the joys of silence, solitude and serenity.
Exhibited at KunstRai 2018 and Josilda da Conceição gallery (2017 and 2019).
Wo war ich als das wahr war
Wenn es passiert is a song of the former German band Wir sind Helden, with an ominous lyric including the line 'Wo war ich als dat wahr war'. In the summer of 2015, I was participating in an artist residency in Berlin. I listened to this song a lot, as some sort of relic of my mental state. I was recovering from medical failure, feeling unsure of what actually happened and what would come of it. The main thing bothering me at the time was that I got confronted with taboo and blame existing mainly around me. As a result, I was questioning my share having ignored bad omen beforehand. This kind of proper mind mush made me perceive things differently which revealed itself also in an artistic manner during my art residency in Berlin.
Installation view, Wo war ich als das Wahr war, 2015, Freies Museum Berlin
A small portraits series highlighting the warm, affectionate nature of the people of Brazil.
Exhibited in group show Fernweh, Tête gallery Berlin
Exhibited in window gallery as part of Kunsttraject Amsterdam and in Lokaal WV15
A little bity fairy tail on the course of love letters.
First dates via relatieplanet.nl
First love on elementary school
Exhibited in my studio on valentines day, announced on Dutch radio
A bit of Paradise, but mostly Utopia
A bit of Paradise, but mostly Utopia is literally that: Photographs from places named Paradise and Utopia in the Southwest America.
Paradise is a small ghost town located in Cochise County in Arizona. The town was essentially abandoned when the local mines failed in 1943. However, a few residents are living in Paradise today. In 2011, there were ten permanent residents. All of them deliberately living out of the madding crowd in rural area, far away from shopping malls and disconnected from the World Wide Web. Utopia is a small town in Uvalde County, Texas. With a population of approximately 200 people, with a couple of churches, a general store, a gas station and a cafe. Utopia is a close-knit community were people look after each other.
I visited both towns in 2011, photographed the people and their surroundings and asked them to describe the notion of Paradise/Utopia and what it meant to them in their own lives.
Exhibited in Galerie Lauriergracht 160 in Amsterdam, De Nieuwe Anita in Amsterdam, Kovcheg gallery in Lviv-Ukraine, Leiden University, Art center COEPi in Pirénopolis-Brazil.
Reviewed by JM Colberg on Conscientious online photomagazine.
In 2003 plans to open a baby hatch (babyluik) in Amsterdam did not go ahead after heavy protest. A baby hatch is a place where people (typically mothers) can bring babies, usually newborn, and abandon them anonymously in a safe place to be found and cared for. In light of the news, there was an interview on the radio with a man that was abandoned as a baby. He told that he was living without official identity ever since. It meant that in case of marriage, mortgage or misery, you don't have official documentation that proofs that you are you. It was the starting point of a series and ended up with a series of portraits of foundlings accompanied with the documents that are called Geboortebewijzen, Proof of birth, which is not counted as an official documents that you can identify yourself with at the authorities.
Published in HP De Tijd
Ons woon in Orania
Orania is an Afrikaner separatist town founded by Afrikaners in South Africa. The town was founded with the goal of creating a stronghold for the Afrikaner minority group, the Afrikaans language and the Afrikaner culture through the creation of a white Afrikaner ethnostate known as a Volkstaat.
Published in online photo magazine 'Deep sleep'
The positive connection
The positive connection used to be an online dating site for people with HIV and aids. It started as an online dating service that offers HIV-positive South Africans looking for love, a way to get around the stigma of the disease.
What started as a dating site evolved in a community where people could share experiences, where you could ask questions about the actual disease, interact with doctors, find the latest information on HIV and aids, researching to drugs and the international regulation around disclosing and infectieus disease.
In 2008, I photographed some members of the website and asked their story.
Published in former online photo magazine 'The black snapper'
The 'Hans Brinker Budget Hostel' portraits
The Hans Brinker hostel in the heart of Amsterdam is a place where despite different countries of origin you find utterly surprising similarities in attitudes and appearance. Ten years long I fancied visiting the hostel and make portraits of the guest with their coming of age guise with my 4x5 inch camera. It panned out in a mighty archive of blossoming youngsters.
graduation show at photofestival Noorderlicht, Leeuwarden, NL
group show Young Dutch Phographers, Museum Rendsburg, Germany
Oma's goud (Grandma's gold)
When my, then 92-year-old, grandmother went to a retirement home, she couldn't take much stuff with her. And so she divided her valuable possessions among her fifteen children. But not her photo album, a precious possession. "That's my gold," Grandma said. None of the children, aged 52 to 69 at the time, did have childhood photos of themselves. I decided to make a new photo album, supplemented with recent portraits of grandmother and her fifteen children.
Exhibited in Lokaal WV25,
the project space as forerunner of what is now known as Josilda da Conceição gallery
Mooi man (Beautiful man)
Street portraits of beautiful young men. Photographed with a 4x5 inch camera.
Graduation show BG Post CS
Street photography 2005-2019
I used to have a small portrait camera with me wherever I was going. Consequently, I have a huge archive of pictures of which most of them haven't been exhibited, published or otherwise. A small collection have made it to print though.
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