specimen

Globe [2000]

Salvaged wood, 90 cm diameter plus pedestal
(private collection, Rotterdam, NL )

Kadett [1999]

Salvaged wood, 90 x 40 x 20 cm
(collection of Johan de Bliek, Antwerp, BE )

Gespiegeld Schip [1998]

Mirrored Ship  : magazine clipping and color copy. a4 paper.
(collection of the artist)

A design of 240 m colored neon lines placed over a milled drawing in light blue Trespa sheets installed in the ceiling of the central reception hall of the Doelen in Rotterdam. (part of the 'makeover' project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL. Mimic Diagram was taken down in 2009)

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The Conductors [1999]

8 archive photos from the history of the Rotterdam Philharmonic Orchestra and the Doelen institute printed on transparencies and applied to large sheets of safety glass. The images merge with the 'brutalist' rough concrete pillars of the reception hall of the Doelen aided by specially installed lights (part of the 'makeover' project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL)

100 metres of folding screens for the Doelen. Honeycomb panels, wood, Formica, aluminium.
(part of the 'makeover' project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL)

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Doelen Reception Desks   [1999]

2 Wardrobe units. 27,5 meters each. Granite, Plywood, Formica, Flightcase materials.
18 Rolling Reception Desks. Plywood, Formica, Flightcase materials.
(part of the 'makeover' project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL)

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Shopping Units [2000]

Rolling shopping units for the Rotterdam Philharmonic Orchestra and the Doelen.
Glass, stainless steel, wood, formica, lighting, etc. 2 x 1 x 1m.
(part of the 'makeover' project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL)

Before the Bas Reliefs

“Until 1995 I had intentionally worked from a deliberate dilettante perspective. My assumption was that things must be best when tried for the first time. The problem here is that, unless you are all thumbs, doing many different things over a period will give you a level of skill whether you want it or not. Before long I was making components for sculptures that looked practically factory-made. A viewer of the work could no longer visually perceive the actions that went into making the object, so that the work had a static character. I wanted to find a way to make my skills work for me in a dynamic, open-ended way. I also wanted to work with materials that were in a different universe from hardware store materials or - perish the thought - art supplies... By exploring in depth the possibilities of a weathered, organic and inherently imperfect material like salvaged wood, I could now specialize and direct my skill in a way that the viewer would be able to trace.”