In the first place I have the desire to produce/manufacture visual objects.
2 What do you intend your work to convey to an audience?
Anti-art withdraws the use-value of things, as well as their concrete and social meaning; it overturns classical values. The audience who doesn’t like Thomas Kinkade and Co.’s paintings seemed at least to like the abstraction in my paintings.(and the opposite) I’m interested in a creativity beyond familiar patterns of construction. It devalues cause and effect and thus subverts and eclipses bourgeois logic.
3 Why do you work in your chosen medium and format?
It feels right to paint in the same medium than the pictures which are the initial source.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
In some paintings a street artist painted a part and I painted the other part very thick. It should demonstrate what kind of painting-style they taught us in art school (tutors influenced by earlier abstract movements) and obviously which painting style was seen as intellectual, opposed to what kind of painting I really like.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
I’m interested in combining paintings from different time periods and locations. We’re living in a time in which tradition is continually repeating itself... Not hide that they are an artificial construct, an artifact /artifices, made up of parts and coming from secondary sources and not only to oppose/embrace tradition, but transform it in my work and continue it.
6 What stimulates/informs your work from the world around you?
I’m collecting pictures that represent a certain kind of sublime. I often find them at markets, thrift stores, the internet etc.
7 What stimulates/informs your work from your own personal experience?
A nostalgia for landscape as well as for whole historical eras of art, and also a nostalgia for a time in life when the knowledge of art is still underdeveloped.
8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
From the internet, for example. By reworking paintings of others, often from poor reproductions, I created paintings that are abstracted from their source.
9 What are the main problems that you face in making your work?
Wasting time while working on something that doesn’t work.
10 Where do you intend to take your work from here?
Working together with other artists.