'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.
