Paintings
Babel’s end II
A carefully arranged chaos of unique chairs tumbles down thus forming a pattern. The pattern we know; haughtiness that invariably comes before the trap. It is an even more spatial version of Babels end with in this case three layers. The confusion and dynamics are reinforced by the shadows that change depending on the light source(s).
Does it look like this when for example the Tower of Babel III collapses?
School
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the thoughts of Mart Stam‘s S31. Is he thinking about his own school days?
On my mind II
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the fantasies of a graceful armchair by Thonet, whose thoughts turn to Rietveld’s sturdy crate chair.
Arachnofobia
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the fantasies of my ‘primal chair’.
Babel’s end
The proverbial Babylonische confusion of tongues results in too much leeway in the carefully stacked chairs of the Toren. This leads to decline and collapse that we are witnessing here.
I used the cutting technique, which I first applied in Rietveld and later in Descendants, again to gain extra depth, a wonderful effect.
My Style
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the fantasies of Gerrit Rietveld‘s red-blue chair, who reflects on Theo van Doesburg‘s chair.
Rietveld refurbished V
Gerrit Rietveld’s most conceptual designs have not only a spartan appearance but also ditto seating characteristics. For real hardliners, placing a loose pillow is probably already more tha a bridge to far. What then to think of the upholsterer who has indulged himself here in Rietveld’s zigzag-chair? Of course in the colors of the house style though.
Rietveld refurbished IV
Gerrit Rietveld’s most conceptual designs have not only a spartan appearance but also ditto seating characteristics. For real hardliners, placing a loose pillow is probably already more than a bridge to far. What then to think of the upholsterer who has indulged himself here in Rietveld’s Berlin chair ? Well in the colors of the house Style though.
Intertwined past II
A variation in color on the pencil drawing Intertwined past with here (of course) the founding father of the cantilever chairs by Mart Stam, but this time interwoven with a design by Mies van der Rohe from 1927 executed by Thonet.
Due to the thickness of the paper, the deviation between the two images becomes increasingly larger towards the top and the bottom, which is why I started weaving from the middle.
Stampede
Another work in the cutting technique. This is a more chaotic variation on Descendants I and II. With these two all tubular frame chairs shown are drawn in the same direction. In this case, also from a perspective, it goes in all directions: chaos in the herd.
Time circle IIX
A whole series of brightly colored patio chairs form a kind of circle that revolve around the center like planets. Where are they located? And what happened? Sharp shadows suggest a bright light source, possibly the sun, after a very heavy shower. The thought of musical chairs also arises.
Babylonian score
A stack to a pattern of a large number of design classics. Babylonian refers to the tower of Babel on which I have made many works. Towers of endless rows of stacked chairs. An earlier stack was the linocut ‘Stapeling’: I filled a 40 x 40 plate linoleum with a chair-shape as effectively and constructively correct as possible. Here I do that on a larger scale.
Decendants II
Descendants II is, just like the Decendants made more or less at the same time, actually a descendant of my watercolor Rietveld. The solution found there by accident has been consciously used in this work and the larger openings, in combination with the slender tubes, provide a rich palette of shadows. In addition to the first one-tubular frame chair from Mart Stam, I filled the area with all kinds of followers or descendants.
Decendants
Descendants, like Decendants II made more or less at the same time, is actually a descendant of my watercolor Rietveld. The solution found there by accident has been consciously used in this work and the larger openings, in combination with the slender tubes, provide a rich palette of shadows. In addition to the first one-tubular frame chair from Mart Stam, I filled the area with all kinds of followers or Descendants.
Babel III
Inspired by the dome of the Pantheon in Rome when you look inside the vault, I have made an attempt to depict that feeling by means of an elaborate stack of chairs. The slightly spinning feeling that you can get in such a large space if you put your head back on your neck and only let the space act on you.