Where do you find your motivation as an artist?

The search for that unrepeatable moment. Many of my works depend heavily on light. Because light is never the same, there’s a very sensual potential in the way we perceive it.

An image can be static, but it is changed by the effect of light. This triggers a mental association or a memory in the viewer’s mind, which is always something very personal.

When are you most inspired?

Because my work is usually quite messy, there’s the clean-up afterwards. Cleaning is a purifying process where I collect the leftovers by hand. You could say I’m having a dialog with my own work.
I think about whether I really need to get rid of something or whether it might potentially lead somewhere.

What puts you in a good mood?

Realizing that I made the right calls and that the end product lives up to the initial vision. It’s like the weight suddenly falls off my shoulders and I feel like all my hard work has paid off. After that, I keep working until everything is wrapped up and the next cycle can begin with a new series.

What kinds of topics are you drawn to?

At first, I used to call my works landscape painting because I’d choose things like ruins, fences, or wastelands as motifs. Those two-dimensional works slowly evolved into sculptures made out of fencing materials. I was interested in boundaries: limits of perception, limits of possibility, limits of the imagination. I also want my work to break the taboo of art being untouchable. I encourage my viewers to touch the works, as long as they are careful.