At Cross Purpose | 2018

The development of interaction. Shifting our linguistic interactive skills through the language we use online, though simultaneously developing our interpretive skill regarding indirect communication.

Choreography of an Organism | 2018

The cleansing process of toxic material through the use of mycelia. The wood has been subjected to the biological process of assimilation and, in time, will be reintegrated into nature.

Temporary Self-destruction | 2018

A research turned social experiment. A study developed through curiosity and fascination for the human thigh bone, also known as femur, being the strongest and biggest bone in the human body. Through obtaining a real human femur, I studied its structures and shape by recreating it in different media, aiming to see how far an imitation could go and if it could get so far as becoming an enhancement of the real version. Following the distruction of the bone, by external force, a shift occurred; A theory called anti-structure, which was explored by the anthropologist Victor Turner, explains the necessity of destructive rituals in our society in order to find a way to deal with the mundane. It is a form of escapism and somewhat of a necessity.

Silicone I | 2017

Abjection is the process in which we separate what we consider to be our ‘self’, from that which we find intolerable. The abject is the "me that is not me.” Abjection can be related to the physical and biological, social or cultural, making it one of the more fascinating concepts. In the 'Powers of Horror' the Bulgarian-French philosopher Julia Kristeva uses the work of Louis-Ferdinand Céline to clarify the type of abjection she is referring to. When reality sets in or we get a reality check we are confronted with the real ‘me’, the me that we tirelessly try to avoid. The abject can be found in everyone, even though they are taught to project the idea of the abject upon others. The abject is within the mind, it is the part of you that you consider to be perverted, even though, according to Céline, it is the side of you that is condemned within the societies we live. We possess abilities specific to us, which we are capable of expressing or exercising, though because they are considered a taboo/perverted/improper by others, we do not.

Temporality I | 2017

A collection of work dedicated to the idea of everlastingness and neverlastingness. Centralising the inevitability of time passing.

Temporality II | 2017

In collaboration with Sonja Steiner and Natasha Papika. An insight into how environmental forces, may it be constructed or natural, can change that which is subjected to it. By leaving out the last step of the photo developing process, the portraits were gradually overexposed to light and other elements, subtly changing the image each day.

Colour Conflict | 2015

The contrast between news media and reality is significant. Being aware of it's many faces is sobering and neutralising, though mostly necessary. Colour Conflict emphasizes the surreality of this difference.

Working Under Thread | 2015

A collection of works based on the current retail industry and its working conditions.

Mono Print

Free work — A mixture of varius papers, ink and chemicals.

Photogram

Free work — Documented with a Mamiya-camera in the Genmeente Museum The Hague.

Biomorphic I

Originally created as micro images as their dimensions are max 2x3 cm. Made with metal ink on plexiglass, they hold a great amount of detail once dried, which is why they were initially intended as a collection which could only be observed through size enhancement. Ultimately, they have become a part of the Silicone I installation to serve as the projected layer.

Biomorphic II

The movement within the shapes of the photographs and the anthropomorphic characteristics they poses, is a consequence of attempting to fixate a moment in time. By using development chemicals on the photo paper whilst exposing it, the shapes instantly appear and once liquids are placed on the paper, it can not be altered anymore. By moving the liquid over the paper, I fixate movement in time. I do not control the liquids to begin with and so it simultaneously becomes a play with chance.

Risograph & Ecoline

Free work — Through self made Rorschach imagery I have printed black ink on silk photo-paper using risograph, after which I aded the yellow Ecoline layer by hand.

Crit Session

A critical session — In collaboration with Natasha Papika, Caroline Straver and Natasha Rijkhof. As our practices vary greatly, we decided to set ground rules in order to work from the same starting point. The first and main point being the space itself and the architectural references it carries in its elements as this already makes a great impact on visitors. It is clearly visible how, over time, the space has been treated; restored, divided, damaged and occupied. Therefor, we worked as minimal as possible; only allowing ourselves to play with emphasis, atmosphere and ultimately projected image combined with our own voices.

Willing to Wait for Nothing

In collaboration with Seth Randall-Goddard and Melina Matzanke. There is no universal meaning of the word Utopia, it is whatever you individually interpret it to be. The search for utopia creates a vicious circle of creating groups resulting in more separation and a bigger gap between us and whatever comes closest to being utopian. It is nonexistent yet we strive it. We put time into reaching a goal that will never be met, the reality is that the closest we can come to the utopia we long for is a safe space within a community. Though to create such communities comes with endless obstacles due to the the ever present bureaucracy. Utopia exists beyond the homogenising present, and has different interpretations depending on the group it serves. To create Utopia an exclusive community must be created; this is necessary and problematic, as it produces safe spaces, but also means that the dominant group in society can set the criteria. We as individuals put time into reaching a goal that will never be met if we rely on the functions of state bureaucracy (an arm of the dominant culture); we can create Utopia within our local communities, but it has to resist the normalising effects of the state.

Ruinophilia I

Contemporary ruinophilia relates to the prospective dimension of nostalgia, the type of nostalgia that is reflective rather than restorative and dreams of the potential futures rather than imaginary pasts. Introducing the documentation of the contemporary ruin: ‘Tropica Ambla’ situated in Ameland, Friesland, The Netherlands. Containing photographs and video recording frames of the surroundings and the inside of the construction. Using ‘Perfins’ as the starting point for the project, my path quickly found its way towards ruins and the several philosophies that partake in this intriguing subject. When eventually settled on Svetlana Boym’s amazing theory on ‘Ruinophilia’ I decided to treat the project as a dedication to the contemporary ruinophilia. By doing so I visited the deserted site of the Tropica Ambla multiple times, entirely taking in my surrounding and documenting what is now left of a once very active establishment. A place where people grew up, worked, made memories. A beautiful place of which one might say that it has lost its glory, but in which case I state that its moment is now. Being constantly tested by its surrounding. "Off-modern ruinophilia acknowledges the disharmony and the ambivalent relationship between human, historical, and natural temporalities. It reconciles itself to perspectivism and conjectural history and allows us to frame utopian projects as dialectical ruins - not to discard or demolish them, but rather to confront them and incorporate them into our own fleeting present. Ruinophilia: Appreciation of Ruins." — Svetlana Boym Since 2002 the Tropica Ambla swimmingpool has been completely empty and unused and till this day the construction has not been torn down for any new projects. The deserted building has been used in the past by groups of young people, for the occasional party and paintball competitions. This however is not optional anymore since the police declared the building as a danger hazard because of the possibility of collapsing. The entire building has been blocked from the outside,with fences and wooden plated infront of the windows.

2D - 3D

A video produced through the digitalisation of an analogue poster.

Obsession

The simple obsessions we posses over material runs deeper than we care to admit.

Stages of Sleep

Free work — A reactive video to insomnia

Thesis | 2019

Redefining silence through technology as the fundamental forces of our age. The understanding of these forces is what allows silence to exist where it should, enabling the autonomy essential for moving through life. Movement is the catalyst for renewal as this is the consequence of a rhythmic disturbance; rhythms which our lives are composed of and disturbances created by our direct environment. — A closer look at what the relationship between technology and silence entails by asking us to reconsider our relationship to them separately.

Catalogue

'A Foreign Affair' Catalogue design for the pré-end exhibition held in December 2018 by the fine art graduate students 2019.

Physicality of Sound

In search of the physical visualisation of sound and vibration. A tangible sensation which remains difficult to be put into words, let alone visual representation.

Ruinophilia II

Contemporary ruinophilia relates to the prospective dimension of nostalgia, the type of nostalgia that is reflective rather than restorative and dreams of the potential futures rather than imaginary pasts. Introducing the documentation of the contemporary ruin: ‘Tropica Ambla’ situated in Ameland, Friesland, The Netherlands. Containing photographs and video recording frames of the surroundings and the inside of the construction. Using ‘Perfins’ as the starting point for the project, my path quickly found its way towards ruins and the several philosophies that partake in this intriguing subject. When eventually settled on Svetlana Boym’s amazing theory on ‘Ruinophilia’ I decided to treat the project as a dedication to the contemporary ruinophilia. By doing so I visited the deserted site of the Tropica Ambla multiple times, entirely taking in my surrounding and documenting what is now left of a once very active establishment. A place where people grew up, worked, made memories. A beautiful place of which one might say that it has lost its glory, but in which case I state that its moment is now. Being constantly tested by its surrounding. "Off-modern ruinophilia acknowledges the disharmony and the ambivalent relationship between human, historical, and natural temporalities. It reconciles itself to perspectivism and conjectural history and allows us to frame utopian projects as dialectical ruins - not to discard or demolish them, but rather to confront them and incorporate them into our own fleeting present. Ruinophilia: Appreciation of Ruins." — Svetlana Boym Since 2002 the Tropica Ambla swimmingpool has been completely empty and unused and till this day the construction has not been torn down for any new projects. The deserted building has been used in the past by groups of young people, for the occasional party and paintball competitions. This however is not optional anymore since the police declared the building as a danger hazard because of the possibility of collapsing. Because of this, the entire building has been blocked from the outside,with fences and wooden plated infront of the windows.

Silkscreen and Riso

Hand made book containing several printing techniques. The cover is silkscreened, whereas the content is done through risograph

The Gist of Gesture

As a catalyst for renewal, movement is a direct language. It is the one way to counteract what is expected of you whilst taking control of choice. It is a means to get to a destination or retreating from it for that matter. It’s the physical expression of subjective perception and gives every gesture value. — Like the presence of specific objects alter our behaviour, so do the physicalities of our direct environment and sometimes these physicalities are our own bodies.


Photographs

Coffeeshop Doctor Green

Identity design for a startup coffeeshop in The Hague, Netherlands.

Cycle Our World

Website design for Cycle Our World, a bicycle trip around the world in aid of rainforest conservation.

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