I utilize minimalism’s formal principles of geometric seriality, yet deploy a quietly emotive aspect by implying hidden narratives and secret histories. My practice revolves around cultivating found materials and repurposing them into meticulously detailed and layered wall sculptures. I compile found glass panels sourced from buildings and automobiles into glass assemblages in clean-edged Plexiglas boxes.
My interest in the malleability of edges and borders emerges from having grown up in a Dutch town bordering Germany and Belgium, where the delineation of countries seemed redundant and arbitrary. Questioning the idea of the border through overlapping, I also examine the linguistic and political construction of borders. In my recent assemblages, temporal divisions are perhaps as significant as spatial ones.
The tension in finding a fragile balance relates to the challenge of defining our surroundings, establishing a balance between observation and judgment. I believe our systems of evaluation are always incomplete, since they are constantly changing in accordance with the way in which we perceive and experience life and society, and what we leave behind.