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Reflections
Reflection is something that literally happens in the right circumstances. In a metaphorical sense, it is of course also an important property. Kind of a meta skill. The chair draws us into this scene through the overshoulder. We take a look at a (the?) Committee, the tribunal on the other side, a certain tension is felt and visible in this way.
Cardinal
Cardinal shows an abstract image of rows of stately seats, seen from behind, with armrests and plush upholstery. He’s not there and neither are his colleagues, the cardinals, but their authoritarian, totalitarian spirit is overwhelmingly present. This tendency, that association with an institution, is not obvious when you only look at the properties of the image. Rather, there is an exciting rhythm of surfaces, lines and colors that convincingly also maintains its power when the image is rotated in other positions. (from ‘Chairs and Titles’ by Chris Manders in the book All in the Family).
Pas de deux IV (double card with envelope)
Beautiful double card with envelope. Only a few copies left.
Arena
If you then climbed the Tower of Babel or Tower of Babel II after a long exhausting climb and you look over the edge, could it look like this?
Siamese shadow II
The shade of both chairs, of which only the top can be seen, reveals more. However, it flows so seamlessly into that of the same chair that it is actually one shade.
Stacking II
After Stacking from 2002, I wanted to see if there would be a different dynamic by adding a print run to the very rigid choice I made there. I also switched from a one point of view (side view only) to two. Obviously because of the logic of two print runs.
Siamese chair
For inseparable children who want to share everything they are supposed to eat.
Pas de deux IX
Together with Pas de deux VII, these are the last of a series that I still have in my possession. I all cases connecting two of the same chairs in any way, associations arise with dance figures and/or dance movements.
Doors of perception
A play with space and light. The passe-partout, which normally only serves to properly protect the work in a frame, is given a substantive role here. The space we are in does not reveal anything except the openings to the space or spaces we look out on. Light and shadow are thrown into our space.
Tower of Babel II
After the first Toren van Babel, somewhere in the back of my mind, a feedback about a true Tower of Babel is so overwhelming and should be present that it is one with and rises from the land (-ship) of which it is part. Stronger what he is with that. The impression that the Tower of Babel by Pieter Bruegel I (Museum Boymans-Van Beuningen Rotterdam) made on me also plays a major role in this. This, at least for me, was more or less ‘primal tower’ round and my first tower was not.
At some point drawing the spiral, which is now the top, I thought in a flash that such a shape could go on endlessly outwards.
The amazing thing is that I ended up with a birds eye view, which is less obvious if you want to draw an imposing tall shape. See the first version that is drawn from a low point of view, or frog perspective.
Pas de deux VIII
Two of the same chairs create a connection: for example, they share a leg or the backrest overlap. For me this immediately resulted in associations with dancing. A dance for two or a pas de deux. From the ensemble to be exhibited as a block of four or six, this one, with Pas de deux IX, is the last remaining until ….
The forgotten chair
Overview of my work published in 2003.
64 pages full color with texts by Chris Manders (former director of the Academy for Visual Education Tilburg) and Bert Diphooren (art critic Dagblad Tubantia).
Only a few copies left!
Drukkerij Van Spijk BV Venlo
Train seats
Commission
(Not for sale)
A second child! This will of course come to the fore. There is already one child that is also pulled by the parental train. Where else do you end up if one of the two parents is employed at the railways?
