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The child sees as a blind person does
Full of expectation, receptive and tender
probing and shivering for what will emerge or reveal.

Listening to the movement
the light

the darkness is interpreted

The threat of the new
the mystery of the uncertain is embraced as a best friend
as if there may finally be space
for that which everyone would perceive as ominous

Beauty is experienced
even where she hides her face


The child


Perhaps people can interpret my work as 'dark', I would never want to label it that way myself. At least not in the way that it covers the negative connotation of 'darkness'. Controversially, I would say that it emphasizes the positive charge of darkness:

The darkness that can be seen in my work emphasizes the light. The controversial thing is, of course, that it is only through the darkness that the light really becomes visible. Sometimes we have to 'rest in the darkness', so to speak; limiting our own space to discover where the peace and quiet can be found.

This tranquility, which you could interpret as a 'light source', is constantly under pressure from the external and internal chaos that takes place in and around us. In the end, desire is what brings us ever closer to the source. This 'sublime' experience in which peace and tranquility meets threat and chaos, and goes together with the desire and longing for the transcendent. As far as I am concerned, it is a very clear mirror of our existence here on earth.

In this context I would like to say;'The earthly decay represents the heavenly beauty'.

About darkness


My works, with their symbolic form, often embrace portions of physical and/or recognizable scenes. The depicted conceal, but at the same time reveal a deeper layer of what is actually represented in their narration. This layering connects the viewer with an inner confrontation; that which is visible is not necessarily that which is reality, and vice versa, that which is depicted is a mirror of what is real. For me, my works always bring with them a certain peace and contemplation; they comfort me, as it were, with 'reality' as it presents itself to me.

Many of my images 'come to me', as fragments within a reflection of reality that occurs in experience and emotion just as much as visible reality. In some visualizations I have a clear impression of a symbolism that matches the experience or emotion of that image, others pretend to be a transient, fragile experience that I can cherish for a moment. Yet both do not let go of me and often come back to me. I then capture them on canvas.





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