The sculptures are an assembly of everyday objects: discarded items or just a compressed piece of metal. A found object can be the starting point for a sculpture. The shape, material and color are herewith determining. By adding contrasting objects and materials an image evolves. Especially the connections used, such as metal pins, pipes and tubes, a piece of wire or rope, are crucial and of essence! They become like drawn pencil lines in the space.
The, in a loose way, but still carefully merged together component’s, create an unstable sculpture, barely in balance. By doing so, the images become a little temporary and light, only just joined together for the moment. They easily can be taken apart and, in theory, transformed into a totally different sculpture. The fragility is amplified by a graceful soft shape or object, like a winding line, wrapped in fabric. This often results in an organic image, as if it originates from live matter.
Illogical and unexpected objects and shapes, like a huge, hanging component, or a simple paint brush, surprise the viewer and create a feeling of imbalance. However, the hairs of the brush are relating to the structure of the rope and this way all the different objects are collaborating again. The loop in the rough, rusty metal, connects again with the hairy loops in the rope and generates the suggestion of movement in the sculpture. As if something could happen, something we do not see. The interplay of lines changes the appearance into something sensitive and adds a completely different dimension to the sculpture. Contrasts are intensified by color. An impetuous color can literally create a painful imbalance, or soften the hard appearance of the metal.
A tension field must emerge in the sculpture, which does allows the viewer to get an ambiguous image. It may be awkward and extreme. Calm and exaggerated, fragile and coarse, beautiful and unpolished. These contrasts must reinforce each other. The sculpture must be a perceptual experience for the viewer.