Materials: paint, laser prints (color / B&W), MDF Printing Technique: Transfer print / Digital Printmaking Dimensions: up to 33x45cm
The theme that unites all my works is time. I use my own digital photos to create images that are usually part of larger artworks. What you see here are just the prints, made the way I am now doing more and more: transfer printing on painted surfaces and then disguise them as artifacts weathered by time. For me the printing process I use now with digital images, is as important as creating a print from a negative like I used to do in a darkroom.
The works I create that way are fake, they are forgeries of artworks that have never existed. Or maybe they will, one day, in the future.
I have a confession to make:I am not an artist, I am a collector. Or better yet: I craftily create collections of self made artworks and artifacts that look old, in the hope that future people will find and collect them.
I have been experimenting with a new way to print and it enables me to print on painted surfaces in both black and white – like I have don here – and in color.
This means for me that I am more and more mixing digital and analog – where analog has become more important to me. I like that I can finally print on rough surfaces, on surfaces that I painted before. I can print on surfaces that are painted in gold, that are shiny.
Materials: Fiber composite material, print, paint, black and white print Printing Technique: Transfer print / Digital Printmaking Dimensions: 50 x 50 cm
With most of the smaller stuff I have made since 2017, I have tried to play with influences from the last couple of centuries – but with this frame I tried to play with something found in the earth. The print in the center makes it look kinda new, that is true – but I would like to research ways to change that as well.
Maybe a painting with laser print image transfer on a painting could be the next step instead of fancy matte prints. Maybe I should work with concrete or a more stone like material – and connect everything using thick iron wire, 3mm or so. And it will be rusty or blackened, no need to ask.
Why would I want that? And why would I also make sure everybody can see it is not from the past? In popular culture, we always go towards a glorious future with the progression of time – but it does not need to be. Archeology/history has shown that this is most most definitely not the case. And with climate change and all, we might not come out on top.
This one has been underway for a long time, never could find the right images for it. Now it has ‘The eye of god’ in the center. A lot of painted ceiling ornaments have an eye of god of some sorts in it – so that is only fitting.
Materials: Fiber composite material, print, paint, rusty screws Print: Litho archive Matte / Photolux Professional Matte 230 Dimensions: 105×115 cm
There is also a blue and a red variant of this ornament but with different pictures and some ornamentals are also different. There was an open call for proposals – not sure what it was about anymore – but my answer would have been a play with tradition and the red, white and blue variants of this ornament as a flag.
Materials: Fiber composite material print, ink, paint, pigments, nail polish Print: Litho archive matte / Photolux Professional Matte 230 Dimensions: 85 cm * 65 cm
I am dutch and I never ventured into mountainous landscapes, so when I finally went there, I asked on a forum what kind of lenses I should bring. I somehow thought I would most certainly not need any wide angle lenses.
Did I already say, I’d never been to the mountains?
Anyway, I had an 18mm wide angle lens with me and sometimes had to take multiple images, because it simply would not fit into the frame. Mountains are huge, can confirm. Valleys can be even bigger.
This picture, however, was made with a zoom lens.
Materials: fiber composite material, print, paint, pigments Print: Photolux Professional Matte 230 Dimensions: 40×40 cm