Central to my practice is the perception of nature and how our approaches to it are culturally determined. See, for example, Birdseed Madonna. Works such as ‘The Map is not the Territory’ and ‘Montedellarte’ visualise the multiple underlying structures and boundaries, and the ways in which they are transcended. The series ‘Dubbel’ [Double] is largely determined by the dialectic between the local versus the global, and the real world versus the virtual.

In my work, I search for boundaries in both content and form while striving to attain an objectifying position. My intention is to visualise, but without giving the impression that I can close the gap, or overcome and resolve conflicts.

As an artist, I endeavour to be sensitive, feeling, consolatory and contrary, and aim to reveal, to engage and be engaged. I explore how I can adopt a position within an art world in transition and, at the same time, aspire to consider that stance from an expanded concept of art. I’m constantly looking for how I can connect my personal artistic practice to public participation, and with a diverse range of audiences.

Key concepts in my work: the dialectic between grandeur and insignificance, transience and timelessness, visibility and invisibility, constructing and dismantling, the perception of nature vis-à-vis cultural mores, beauty and horror, safety and danger, safeguarding borders and surpassing them, delineation and infinity, chaos and control, universality and individuality.

I use the language of art to formulate my views on issues such as globalisation, increasing diversity (including the refugee situation) and economic expansion versus insurmountable ecological problems. My work is an attempt to expose the fundamental structures and lines therein.