I am greatly attracted to the effect of the most simple, basic acts of painting. If we would view the world as built up from constructional toys, then my work shows the lego blocks of painting. The strips of linen with one single brushstroke on them, or the rectangular pieces of linen painted in monochrome do not give shape to traditional paintings. In de microscopic gaze they give of the materials and actions of the medium they refer to research.
The presentation in rhythmic series leads back from conceptual painting to the everyday world. An everyday world varying between a cool scientific gaze on the one hand – evoked by the straight angles, the squared paper and the systematic repetitions – and on the other hand, the free and cheerful arrangement of pieces of cloths in a market stand. It never becomes unambiguous.
Indeed, there is a paradox here: for instance, where not the painting is shown but an etching showing its physical imprint; or where only the backsides of painted canvases are visible while the titles speak of monochromes. This way, the work embodies self-denial, and with the casual, slightly messy character of the often loose elements the work does not seem to take itself very seriously either. Once the eyes have adapted, something else may reveal itself from this bareness, denial and negation. Sensory perception; a search for the essence. Naked painting?