Installations

For installations I create on-site, I usually have a general plan, but I let it go as soon as I begin. I start with what’s already there, react on the environment, step back, watch, feel and continue working.

My work often incorporates rhythm and repetition, but also encounters and connections. I strive for balance or the tension of being slightly off-balance, for an alternation of weight and lightness, for hope and playfulness. I want to create work that “fits” the place. Work that immerses visitors. Sometimes literally, because they enter the space, forget themselves for a moment, and feel safe. I strive to inspire wonder, a meditative experience, to be touched, and to connect. Through the work, they see the trees and nature differently, and for a moment, feel how deeply connected they are to it.

More subconsciously than consciously, I make visible the mutual, invisible connections in nature. On a conscious level, I often don’t give the work a deeper meaning. But for the viewer, it often appears to be there.

A key work in this group is the installation “Connection,” which I created in Culemborg in 2016. It was then that I discovered the impressive effect of a large quantity of threads.

I often work with threads. But I also use other materials: natural materials like wicker, jute, and clay, as well as synthetic organza, which, with its playfulness, transparency, and brilliance, is eye-catching and brings light into the work. The advantage of synthetic materials is that I can reuse them frequently, and I do.