Older Drawings
Transformations
2026 — Naming–Value Butterflies (in motion)
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2026 - The Divider
This work originated during Transformation Studio no. 1: warm or cold (CCDA Lommel, 2024), where it was installed at the entrance as a wall piece bearing the words “left” and “right,” readable in both directions.
That initial, simple division continued to guide the work as it later developed in a slower, more layered way in the studio.
Throughout the process, oppositions were deliberately kept side by side and held in tension: left and right, green and red, robot and human, above and below, technology and nature, life and ash.
What began as a legible division transformed into a field in which colours shifted from green and red to metal and flesh. Two older drawings — Robotman and Hanging Man (1995) — were reintroduced and positioned opposite one another.
Materials were added, removed, burned, and fixed. Paint was allowed to run, edges disappeared, remnants became ash. That ash remained present as an underlying layer, a quiet boundary.
In the final layer, the division was further extended: not only left and right, but also above and below. The Divider does not divide in order to separate, but to sustain tension. The work now rests in that state, without conclusion.
2025 – Signature of a Rhinoceros
The drawing Rhino’s Revenge from 1995 formed the starting point: an explicitly rendered revenge scene in which a victim turns against its perpetrator.
This drawing was then combined with the oil painting You with Your Beauty, You Just Knocked Me Out (2006) and a canvas with the letters MAGA from the project Melting Goals.
Within the framework of Drawing in Motion, the oil painting and the drawing were mounted together on the drawing board. The drawing received additional coloring to merge more strongly with the board.
In the next step, the drawing was detached: the back reinforced with interfacing, the front with PVC. Folds were stitched over and the rhinoceros’s horn reappeared.
In this way, the new work Signature of a Rhinoceros emerged. A canvas with paint traces harmonized well with the drawing. The title refers to a ‘signature’ in the sense used for a serial killer: a recognizable, personal trace.
Made from 1994 to 1999
These drawings date from the period when I started art school. They are series in which I experimented with different methods. Here they are shown together. When they are still in my possession, I want to subject them to transformation in an organic way, as described in the manifesto. In this way, I set these works in motion again: by reusing them, merging them, letting them blend together, drawing over them, using the back, or allowing the material itself to change.
