Full-Stop (2019) 82 x 62 x 14 cm Mahogany and birch plywood, maple, paper, uranium glass, ceramics, nylon and polyurethane
Full-Stop is a cabinet from mahogany and birch plywood. It contains two vases, one from half-glazed ceramics and one from matte uranium-glass. These objects are presented alongside a drawing of a hand on paper and a small maple plank containing polyurethane resin. What interests me about uranium is that is has two very contradictory shapes that are both politically charged: it is associated with boundless transformation, destruction, and the cold war, while before 1940, it was added to glass to create vases, cups, plates and other household items on a large scale because it emitted green light under the influence of sunlight.
For A Door (2019) 140 x 18 x 12 cm Maple and cork
For A Door arose from questioning how I can implement sculpture to connect two different spaces together. I wanted to make a work that can only be shown only on a specific place. After reading Life: A Users Manual by George Perec I became interested in creative constraints, and how limitations, paradoxically, often open up possibilities and generate new ideas.
Alternating Currents (2017) 98,5 x 80 x 13cm Found and made objects inside a beech wooden cabinet
Alternating Currents departed from questions evoked by writing short stories. Is it possible for objects to have an open end? Can an arrangement of objects be like an arrangement of words? With these questions in mind, I build a cabinet for a collection of objects, to examine the dialogues between objects, and to address the complicated relationship between container and contained.
Seashells That Look Like Petrified Ears (2016) 20 x 14 cm Self-published editions of 25
Seashells That Look Like Petrified Ears is a collection of short stories. Each story departs from the idea of walking. Sometimes characters walk physically, such as in Train, where two characters are looking for a place to sit in a train, and observe how the train transforms into a mountain landscape. At other times the walk is considered more abstractly, such as in At the Same Time, or Nomad, which revolve around notions of economical frugality, companionship, longing and disorientation.
Tower (2016) 185 x 4,7 x 4,7cm Maple, brass hook, nylon rope
Like Leaking Lighthouse, Tower hangs just above the floor. I carved windows in each side of the wood, creating a shape like a very thin sky scraper, or an elevator shaft with different exits. Windows, or the unclear border between internal and external space where a prominent subject of my writing those days, and I actively looked for ways to base sculptures on my texts, and vice versa.
Wereldontvanger - a show in ONONO, Rotterdam, 2018
Leaking Lighthouse (2016) 195 x 4,7 x 4,7cm Walnut wood, metal hook, nylon rope
Leaking Lighthouse is a sculpture that hangs just above the floor. To address the way the body and reading relate, I engraved the words Leaking Lighthouse, abandoned water. Delayed diagonal, mimicked broadcast. into the wood. These words spiral downwards, around the wood, so you can’t read the full sentence directly but you have to walk around the word, developing a different bodily relationship to written text.