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Medusa’s stoel


When steamed hot, the hard wood becomes flexible, Thonet invented it and became immortal with it. The round wood takes on almost snake-like properties. The basis for this drawing is his 214. A timeless design that is still highly sought after. I already turned this one into a spider. I had been playing with the idea of combining Medusa with a Thonet for some time, but it just didn’t want to fit together.

At first I was looking for that match more at the top, near the backrest, but see here when I managed to get rid of it…

Universe III


From time to time the hexagonal frame keeps popping up in my work. This has everything to do with its isometric basis. Those who follow the developments in my pencil drawings have noticed that the third dimension has found its way in all kinds of ways, showy, subtle and devious. One of my earliest pencil drawings ‘Universe’ from 1992 finds a descendant in this one.

Pedestal IV


The tulip armchair by Eero Saarinen is a suitable candidate for my ‘Pedestal’ series, which now consists of four pieces, especially because of its base. The base of the chair is literally the pedestal under the framed drawing, making the whole into a free-standing object. For those who look further on my website, you will of course immediately see the link with the ‘Exit‘ series.


Pedestal III


The ‘Kufenstuhl‘ a German school chair which was standard made in five different sizes. It was designed by Karl Nothhelfer. For me, the base through which the chair actually rests on two legs was the reason why I was triggered by this design.

Pedestal II


Last spring during Huntenkunst’22 there were three somewhat older wooden German office chairs in a colleague’s stand. After a pleasant conversation at my stand, we came to discuss the chairs, how could it be otherwise. I photographed them because they appealed to me. As is often the case, the memory of it faded into oblivion until I made Pedestal. Then I immediately remembered these three chairs. The photo turned out to be still on my phone.



In the quest described in Exit VII, my other eye fell on this 1905/1906 design by the American architect Frank Lloyd Wright. It was designed for the Peter A. Beachy House in Chicago. The extremely high railing clearly has an aesthetic function. It is that height that caught my eye and, as it were, seduced me to this 3D drawing.

Exit VII


Actually looking for something else, flipping through one of my ‘chair books’, my eye fell on this design by Charles Rennie Macintosh. In short, it’s design, the height of the railing is an ideal candidate for an ‘exit’. The rest is history.

This one a stroke bigger than the numbers of the same name, I, II, III , IV, V and VI.



An old American office chair from the (chair-) collection of the TU Delft turned out to be the perfect base for this idea. The Exit series (I to VI) previously made by me is unintentionally the prelude to this Pedestal.

Double portrait II


An expanded variation on Double Portrait that I made earlier this month. As is often the case, I was working on another drawing when this opportunity came up, so to speak. Then there’s nothing left but to try it out. To the satisfaction of the depicted chairs. Which in turn can be observed by taking the right position as a viewer.



A two-dimensional and a three-dimensional backrest of an Oirschotse chair mirror each other. We as viewers can then venture to reflect on reality, illusion and especially the area in between.



Repotting, spacing young plants so that they have room to grow, I did a lot during summer jobs in my youth. This is in a way a playful reminder of that, at least in my head. Here the leg has been moved like a kind of shoot, but immediately to another dimension. Now just wait for it to grow out.

Double portrait


A chair portrayed as I did in the series of the same name (see for example Portrait 16 or Portrait 43), but this time with two chairs in one frame. So a double portrait. But is it?



This chair by Cees Braakman, the sB02, already has a somewhat surprised look. At least for those who want to see it. Leaving out of its own shadow (is it?) that gaze is left behind. Amazement everywhere.

Next level

A slightly older desk chair helps with the helicopter view that is often missed in a regular office.

Mixed up IV


Pieces of DNA from very different chairs have been fused, through exquisite gene techniques and with my pencils as a microsurgical tools, into a new piece of furniture for a somewhat more outlandish couple. Obviously, the entourage cannot be left behind. It’s good that I have trouble throwing things away.


Cees Braakman‘s SBo2 makes a hundred and eighty degree turn here where the handrail does not go along or does not want to. A simple intervention that is reinforced by using the third dimension a little bit. Reverse squared?