Inspiré d'une histoire vraie. 2012
Öl auf Leinwand, 130 x 165 cm.

Mein Dank geht an: 


Maike Lammers und Julia Loder, für die großartige Unterstützung und das Grafik Design: "Mädels ihr seid wunderbar!", 
an Zeno X Gallery, dafür, dass sie mir das scheinbar Unmögliche ermöglicht haben!


Michaël Borremans und Ronald Ophuis möchte ich für die Zeit danken, die sie mir geschenkt haben und dafür, dass sie ihre Gedanken mit mir geteilt haben. 

respect kills hierarchy

We are no different.

"I don’t believe anything really revolutionary has ever been invented by committee… I’m going to give you some advice that might be hard to take. That advice is: Work alone… Not on a committee. Not on a team.” (S. Wozniak)


So I am happy to tell you: There is a group show upcoming ;)


Be welcome! 
Friday, Jan. 27. 19 h opening
Saturday, Jan. 28. 13-17h
Sunday, Jan. 29. 13-17h
at CBK, 's-Hertogenbosch

Irgendwo zwischen Eindhoven und Venlo, 25. November 2011

Der Weg von s’Hertogenbosch nach Eindhoven ist ein langer. In der zwischen Zeit schaffen es meine Gedanken mehrere Male sich in Einbahnstraßen zu verlaufen, gehetzt legen sie sich mehrmals mächtig auf die Fresse, werden jedoch nicht müde und rennen unaufgehalten in die nächste Einbahnstraße, um die nächste Ecke, sie machen U-Turns, rennen gegen Mauern, fallen schneller, fallen härter und rennen weiter – immer weiter, ‚Try and Error’, ‚Try and Error’,manchmal finden sie eine neue unbekannte Straße. Glück oder Dummheit, stellt sich dann als Frage.

Ich sitze im Zug, werde krank und denke: ‚ Nicht viel beansprucht mehr Wahrheit als ein leeres Blatt Papier.’

November 21st 2011


Ever since I got an email with an 'okay' to call him, I was nervous like hell. I decided to call this morning, I barely slept, I couldn't eat. I called at noon. My roommate was laughing at me, because I was so excited and nervous, she said: 'Wow, usually you are so straight forward and now, I see you all over the place!' It was funny, it felt strange. 
Once I heard his voice, I was fine again. We had a talk. 


He has a very different idea of time than I. He told me, he only takes photographs for his 'work'. The past doesn't exist. 
(Personally, I consider: We are a summing up of all yesterdays and one now.)


I took a silly picture after we talked, so I can show it to my future potential kids and say: 
'Look honey, this was November 21st, the day your mom had a phone talk with her favorite painter!'

I totally forgot to tell him, that I like his work.

Nr. 72, Öl auf Leinwand,  140 x 175 cm, 2011
I mixed up 'how' and 'what', it ended up in a mess. Sometimes the only way I fall asleep is by not trying to fall asleep. I talk and I don't listen. Love you.

aussicht

Fotografie, 105 x 135 cm

159 strategies & 1 summer (project)

'Do the washing up.'

it's a very long summer: so I decided to go for a project, which I wanted to do since a long time already but never had the time and patience. I have no idea where it .... but you're welcome to have a look: http://at-least-two-a-day.blogspot.com/

'Scanning Adorno'

‘Scanning Adorno’ is an unfinished work. I haven’t figured out the final form yet/how it needs to be presented.

About the work: I was reading an essay by Adorno (Über einige Relationen zwischen Musik und Malerei) and his words (which are highly beautiful!) formed images in my head.

But since everybody forms their own images while thinking/listening, my images were already far away from Adorno’s.

I decided to only keep the essence needed for ‘my image’ and to get rid of everything unnecessary, while still receiving a complete image in the end – so I erased all the, to me expendable parts.

-      I didn’t change the order in which he used the words, except of one time.

-      I only added one time a personal note

-      Though, I didn’t change the order of words - I put them in my own rhythm

It was exciting to do, because I was able to create, with his words a personal sharp image of what I wouldn’t be able to tell without him. (The question is, whether it is mine or still his? Am I allowed to do this, I mean: Wow it’s Adorno, right! It doesn’t feel wrong.)

He offered me images and I stole them, formed and shaped them into mine, by erasing and playing with timing.

Is it vicious to do this because he carefully chose words and I decided to kick the ones with less value out, until the picture in front of me looked as sharp as possible?

I mean, in the end, that’s what we do all day long anyways – scan, produce images and focus until we get what we need to understand. 

facing

Stumpft der Mensch vom Gaffen ab?

(nr.25)

Öl auf Leinwand, 75 x 115 cm

coming home

Öl auf Leinwand, 75 x 115 cm

nr. 12

Öl auf Leinwand, 60 x 80 cm

19:52h

28. April

nr. 7

Öl auf Leinwand, groß

'Kunst en Politiek'

At the end of the minor 'kunst en politiek', we had a group-exhibition, for which I made an installation with paintings. But throughout the preparation process of the exhibition, the group made the decision (democratically) to show all the works in little voting booths - my work was everything but fitting in there. 
After a lot of thinking and doubting, whether to  change my work, whether to make new work, whether to deny the whole exhibition or to rent out my voting booth - I decided in the end, to make an 'answer to democracy'. 
Because, even though it seemed like a fair choice, which was made by people, I thought at the same time it is: a dictatorship of the majority, a discrimination for painters and sculptors and the most silly thing to do - because art is not democratic at all! 
So I thought: Okay, you give me all these rules and restriction, that's what you get than - AN ANSWER!
Next to the movie, which was screened in a loop on a little TV, standing on a old paper box on the floor of the booth, I offered some hand-outs of EU-regulations of cucumbers, in Dutch, English, French and German.

fragments: installation 'march 2011'

I stole this.

kw 10/2011

Öl auf Leinwand, 30 x 42 cm

installation

04.03.2011, out of my diary

kw 8/2011

Öl auf Leinwand, 100 x 120

kw 7/2011

Öl auf Leinwand, 2011

nr. 5

Öl auf Leinwand, 120 x 140 cm

bild in fahlen farben (assoziationen geschwärzt)

meistens ist es zwei uhr nachts, wenn ich nicht schlafen kann. mein kopf ist hellwach, wobei ich zum schreiben eigentlich zu müde bin. ich habe keine ahnung, wie ich schnee male. es ist komisch, weil schnee eins meiner liebsten ist. weiß ich nicht wie ich ihn malen soll, weil ich ihn nicht richtig sehen kann. (die vorstellung ist mir aber zu kitschig.)

ich bin gespannt auf den tag,

nachtrag: ich mag keine berge, aber wenn sie mit schnee bedeckt sind, sind sie okay. vielleicht ist es auch das wasser. in jeder form, irgendwie immer unantastbar (hier: definitiv schwarz!), aber so richtig festhalten kann man es nicht, selbst wenn es gefroren ist, schmilzt es, sobald man es länger anfasst und wenn man es festhalten will, muss man es einsperren.

nebel,

dampf,

regen,

schnee,

eis,

siedend,

still.

(vielleicht lerne ich eines tages tennis zu spielen, denn ich stelle mir tennis so ähnlich vor wie zu malen.)

nr. 94

Öl auf Leinwand, 90 x 120 cm

nr. 1052 (tweede versie)

Oil on canvas, 100*120 cm

Öl auf Leinwand, 95*110 cm

Öl auf Leinwand, 120*140 cm

Self-portait (September 2010)