'Phantom Limbs', 2021
Open Studio presentation for 'RijksOpen 2021'.
Mixed Media installation (with reproductions of: Michael Thonet's #14 bent wood chair; Allesandro Algardi's 'Young Satyr with Mask of Silenus'; Vladimir Nabokov's butterfly net; Katarzyna Kobro's 'Spatial Composition #4'; 'Something Foul in Flappieville' Hand puppet from 'Murder, She Wrote'; Samuel Beckett's tree in 'Waiting for Godot'; 'Wendy's Western Coat' from Stanley Kubrick's 'The Shining'; drawing of the 'Hammersmith Ghost'; a Whisperer mask from 'The Walking Dead'; and a found reproduction of 'The Ghost Story' by Charles Giroux after Walter McEwen from the Rijksakademie Collections).

Excerpts from 'Phantom Limbs', 2021
Video loop 31:57

Untitled (Replay), 2020

Mixed media installation

Variable dimensions

Untitled (#1, #2, #3 & #4), 2016 - 2019

Acrylics, spray paint, marker and laser print transfer on canvas

200 x 150cm & 150 x 130cm

Untitled (NET) series, 2017 - 2019

Oil, acrylics, marker, spray paint and laser print transfer on canvas

200 x 150cm; 160 x 120cm; 170 x 130cm; 150 x 130cm

Mesh #1, #2 & #3, 2017 - 2018

Mixed media on wall

Various dimensions

Untitled (BBB, UUU, MMM, WWW, SSS, etc.), 2017 - 2018

Oil, acrylics, graphite, spray paint, MDF and laser print transfer on MDF and canvas

Various dimensions 

Knapsack (Soft Skill Session) & Knapsack (Replay), 2019

Recycled cloth on handwoven, knitted, quilted and sewn linen and cotton

152 x 128cm & 135 x 143cm

Diagrams for 'Nest', 2018

Oil, acrylics, spray paint, graphite and laser print transfer on canvas

200 x 150cm & 100 x 80cm

Nest #1 (Green Room), 2017

Mixed media installation

Variable dimensions

Nest #2 (Aa-Kerk), 2017

Mixed media installation

Variable dimensions

Nest #3 (Rianne Groen Gallery), 2017

Mixed media installation

Variable dimensions

Nest #4 (Radiator Room), 2018

Mixed media installation

Variable dimensions

Speak Memory, 2019

Mixed media installation

Variable dimensions

'Textile Workshop', 2022
Open Studio presentation for 'RijksOpen2022'.

Text:
A late medieval woodcut print by Hans Sebald Beham depicts a village spinning bee spun out of control. At the time, it was distributed as propaganda, a moralistic speculation of the unruly orgiastic events the authorities imagined took place at the local spinning bees. These textile gatherings were notorious for their transgression of norms, and indeed offered nightly refuge from paternal supervision for the (young) villagers to engage in social, sexual, and other forms of communal experimentation. As such, they offered a place for countercultural and subversive potential. These bees eventually got prohibited, pushing them underground and into obscurity, continuing in the dark of night.

In the absence of any textile facilities at the Rijksakademie, I have spent the last year setting up a textile workshop in my studio, following the tradition of the nightly village spinning bee. Communal touch-based textile processes facilitate unruly entanglements. Moments of weaving and spinning are met with forms of informal knowledge production and exchange. The space offers a breeding ground for the knotting of various lines of thought, threads, and bodies. At night, these are expressed more through touch than through vision.