Within my practice I work as much from my gut feelings as possible. I want my proces to be adventurous and frequently impractical . My work is very manual and gestural and I emphasise the idea of work being made by hands, and not by machines. I always tend to show certain struggles I might have with materials as I believe all of this marks are of great value; they lead towards something that comes from within us and that shows what something looks like, touched by hands and therefore getting emotionally charged. The proces is very much a collaboration between me as the maker, and the materiality, the work itself, as a entity that has a will and force of its own. There is almost a aversion of material being smoothed and polished. I am interested in if, and how a sculptural work can become a photographic work and visa versa. At this moment some of my sculptures are only made to be depicted in a photographic work. There are no particular subjects when making a work; I think when making I continually try to find out what the work is about. With my work I hope to evoke universal human emotions that can be widely interpreted, such as hope,loss, connection and fear.
Additional information about the work:
In my sculptural practise I am interested in the collapse of things. The fragile connection and reparation of materials is something I would like to show. Which parts are being supported by which? I am very much interested in the fragile connection and tension between separate elements and materials. For this work plaster is being poured into a shape where hand dyed fabric was constructed. I carved parts aways from the outside of a completely flat, white and smooth plaster block. By taking away plaster material, I again tried to make visible what was within. I had to deconstruct the materials in order to show its layers and tension within the existing shape.