Stylized human shapes give the viewer the space to master the identity of my figures. The power with which these organic images communicate mainly embraces the here and now. Each sculpture is timeless and human. Strong and tender at the same time.
Inspired by my parents' stories about a trip to Zimbabwe, I started making ceramic sculptures in 1993. Until the end of 1998, African imagery piled up on African image, but at the beginning of 1999 this made way for more abstract work. The reason is that I can simply put more fantasy into an abstract image. That may sound strange, because as humans we are used to fantasize realistically. In my view, an image with only a mouth, nose and an eye evokes more. The viewer will then finish the image for himself.
Since 2003 I have also started to focus more and more on the production of bronze sculptures. My works mainly consist of abstract sculptures of human figures and heads. The holes in the sculptures are characteristic. I personally think that the images carry a certain feeling, so that someone who has been touched by them is inextricably linked with them forever. Because of the striking lines and residual forms, there is an aura around the images that evokes certain feelings such as security, infatuation, sadness and letting go of material earthly existence, a kind of hypnosis.
I know that most people find my thinkers sad. However, I am certainly not unhappy and I find a smile too limited. Day in and day out I deal with my addiction: busy with my images and everything that goes with them, such as arranging materials and setting up exhibitions. LOVELY! I build up the images and then shape the contours in clay. All sculptures are made by hand and therefore each object is unique. Surprisingly, the basic idea often ends up looking different, because the clay work often comes out of the baking oven differently.
