Info

A few years back, I called my practice a 'krioelend geporzel'. I compared the moments when I had an idea to the ping that a microwave makes. All "microwave pings" had to be worked out immediately.
My practice is a multidisciplinary rhizomatic plant that forms itself around painting and a broader area centered around horses. I bring the clarity, calmness, physicality and sensitivity I need to be a good passive leader with horses to my painting practice. I believe horses can teach us a lot about intuition, process, emotion, cooperation and compassion. It is important to me that I incorporate these principles I learn from horses into my attitude as an artist. Horses cannot mask anything and constantly communicate with subtle body language. I want to capture the character and self-identity of the animals. Inevitably through a possibly anthropomorphic lens.

My work has its origins in my wonder for what I see in the world: all the visual characteristics and features of plants, animals, horses, people and situations. I am a collector of visual imagery. In addition to my own photographs, I use AI-generated images, archival images, and images from plant and animal books. When I have not taken the photographs myself, it means that I do not "know" my subject from a previous experience and the relationship arises purely in the imagination. I like what Jessica Skowroneck, painter of what she calls "inner landscapes," says about using reference material. She uses both homemade photographs and pre-existing photographs on the Internet. She says about this that it doesn't make much difference whether she actually has a memory attached to a photograph she uses, because either way on the canvas a new memory is created that is separate from the memory in her head.

Everyday images, in which horses often play the leading role, are put together in scenes that refer to reality. But there is always something that is not quite right. Through the use of color, placement and composition, I create a new reality. The interplay between volatility and meticulousness, between dreaminess and detail, produces a sensuality and distortion. At the same time, an alienation of people and animals and their function takes place. The extent to which the collage-like character is visible varies from work to work. Sometimes the elements together form a new, integrated landscape. In other cases, frames create a clear dividing line between the different parts, reminiscent of film scenes.
The images change meaning through the relationship they establish associatively with other images. The form of initially different things fits together seamlessly: making images rhyme, not in sound but in form.