Long before I knew I was an artist, or if you would like, would become an artist, I read an article in the newspaper about two scientists (biologists) researching the genetic predisposition of humans. Their research was based on the ‘fact’ freedom of choice does not exists. The genes of every single person contain what the life of the person will look like. This thought but moreover the dualism of disagreeing and agreeing never left me and forms the centre of my artistic point of view. This come into shape in my work by mixing cause and result, form and content so unambiguity is being questioned. But the most Important influence in my artistic motor is the law of conservation of energy; what goes in must go out.

For a long time I’ve tried to put my work into a coherent form. About a year ago I found out I am not capable of that and moreover I would not like to do so. I decided to divide my work into a triangle, in this triangle each point has its owns specifications. Choosing a triangle is a way of enlarging my artistic freedom by restricting it. In my practice I predominantly use performances, though my interpretation of performances isn’t narrow at all. Since a few months I’ve decided to no longer work with the documentations of the performances. But rather walk backwards and use the performance as a ´documentation´ of the autonomous work, a video or sculpture. The main reason for this was to hang not too much in in-between-spaces, and look at non-representative representations. Still the bodily memory is a very important aspect in my work.

1. core-series, the bodily elements and physical aspect play an important role. Past, present and future might cross each other on the turning point of time and space. My current artistic research concerns the aesthetics of violence/power. Creating and destroying are used both to amplify and deny each-other. The aesthetical angle is used to make a comment in a open way, and stress the ambiguity of power and violence instead of cutting it short. In those works I use real horses to visualise the power (both hierarchical and physical), tenderness, mythical and pre-industrial layers in the work.

2. anti-works, in these works hate, and self-hate are central issues. All the anti-works I hate beforehand, but this hate is the main reason to force myself to make those feminine or feministic works. The aesthetics of the mass media are both form and subject.

3. text-based work, started from the need to make a film without making a film. In these works fiction and facts are deeply interwoven, I use (semi-)autobiographical material and ask different men (sometimes more or less strangers, some close friends) to give their voice to my texts.

Also see: The L.A. Blog