During the process of developing work, I as the maker am the only one relating to the work, it is a product of my experience of the world I live in. After an artwork is finished my own relation to the artworks isn’t the only one that counts. The artwork is now a material reality that confronts other viewers with their relations to it. When viewing art you enter into dialog with the work and thus become part of the work, supplying a portion of meaning. I want the artwork to form a psychological exercise to people looking at and experiencing the work. The work does not exist because of a rational functionality or to represents anything that is obviously explainable.
We are so used to interpreting the world being functional and rational. We cannot fully comprehend the world, however far we go into rational explanations. The unconscious mind contains more of the essence of being than we realize, therefore the unconscious is something that needs to be stimulated so that it will emerge to the forefront of our experience of the world.
The meeting of on the one hand reality and what we know and on the other hand the intangible; the things we do not understand consciously, is something I try to capture in my work. I do this by fabricating sculptures or installations that rely on their materiality. Sometimes the work recalls everyday objects, sometimes the everyday objects themselves are used within the sculpture. I deform ‘the known’ so that we are left questioning what our human interaction with the sculpture might be, whether this is physical or psychological. While we are left searching for meaning we are confronted with ourselves in an unfamiliar way.
