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Three shapes, namely a backrest of a low (top of the picture), high (bottom of the picture) and frontal (middle part) position are the basis of this work. All three have also been used in reverse mirroring the whole. The brain tends to tilt the shapes so that they respond to the ‘normal’ laws of the central perspective. That produces a thrilling dynamic surface. The chosen colors reinforce this even more. See also ‘Converge

Babel II

What would it look like when you look up along the wall of chairs stacked up to an enormous tower. No two chairs are the same. The harmony that towers that I had previously drawn had at least in appearance (Tower of Babel, Tower of Babel II), has already been exchanged for an enormous variety in Tower of Babel III . This is kind of a detail from that looking up from a lower point of view of the structure.

Circle time VI

A continuous tubular frame circle. Where normally at the place of a hind leg the tube bends in such a way that the imaginary hind legs are connected in this way, they now bend just the other way, making a connection with an adjacent chair. In this way they can no longer be constructive without each other. In the light of a circle discussion: what a connection! The goal of a good meeting.
Now for the reflections. Normally these are under the actual seats. A different reflection, that is also an enrichment for a meeting, isn’t it?

The long march III

“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)

Duet I

Actually, I literally found these schoolchairs on a sunny day somewhere in a gallery. So in my oeuvre this is actually a bit of an outsider because ‘only’ directly more or less made from observation. See also other duets such as Duet II and Duet III and certainly also the Pas de Deux series.