specimen

Sleepschip 1 [1996]

Towed Barge 1  Salvaged wood, length 135 cm
(private collection, Delft, NL)

Sleepschip 2 [1996]

Towed Barge 2  Salvaged wood, length 135 cm
(private collection, Rotterdam, NL)

Sloep [1996]

Longboat  Salvaged wood, length 60 cm
(private collection, Rotterdam, NL)

Sleepboot 1 [1996]

Tugboat 1  Salvaged wood, length 120 cm
(Bouwfonds Collection, Hoevelaken, NL)

Sleepboot 2 [1996]

Tugboat 2  Salvaged wood, length 120 cm
(collection of Johan de Bliek, Antwerp, BE)

Sleepboot 3 [1996]

Tugboat 3  Salvaged wood, length 120 cm
(Concordia Collection, Rotterdam, NL)

Duikboot (MAMA) prototype [1997]

Submarine (MAMA) prototype  Salvaged wood, length 210 cm
(collection of Anna van der Ende, Rotterdam, NL)

Duikboot 1 [1997]

Submarine 1  Salvaged wood, length 170 cm
(Caldic Collection, Wassenaar, NL)

Duikboot 2 [1997]

Submarine 2  Salvaged wood, length 170 cm
(Caldic Collection, Wassenaar, NL)

Duikboot 3 [1997]

Submarine 3  Salvaged wood, length 170 cm
(Caldic Collection, Wassenaar, NL)

Duikboot 4 [1997]

Submarine 4  Salvaged wood, length 170
(Caldic Collection, Wassenaar, NL)

Duikboot 5 [1997]

Submarine 5  Salvaged wood, length 170 cm
(Bouwfonds Collection, Hoevelaken, NL)

Duikboot 6 [1997]

Submarine 6  Salvaged wood, length 170 cm
(private collection, NL)

Duikboot 7 [1997]

Submarine 7  Salvaged wood, length 170 cm
(private collection, NL)

Duikboot 8 [1997]

Submarine 8  Salvaged wood, length 170 cm
(private collection, NL)

Spits 1 [1997]

Salvaged wood, length 230 cm
(collection of Barney Agerbeek, Leerdam, NL)

Spits 2 [1997]

Salvaged wood, length 200 cm
(private collection)

Spits 3 [1997]

Salvaged wood, length 175 cm
(Caldic Collection, Wassenaar, NL)

Spits 4 [1997]

Salvaged wood, length 185 cm
(private collection)

Duikboot 9 [2002]

Submarine 9  Salvaged wood, length 170 cm
(private collection, 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.”