Transformation in Motion offers a current overview of what’s happening right now: works in progress, studio experiments, recent exhibitions, and short news updates.
This page is updated monthly with a summary of what happened that month. Sometimes there’s a lot, sometimes only a little, depending on how much time I’ve been able to make.
Click the photos to open each transformation and discover the processes underneath.
There are also two social channels that move along with the work:
Mastodon: short updates and studio notes.
Pixelfed: images and detail shots from the studio.
In February I completed Thermal Promise: a wheeled installation in which figure, cage, weight, screen images, and real air currents form a single temporary body.
The wind “plays” the fabric strips, while the screens add a second layer of movement.
See photos, context, and the short video work on the project page.
Raster Christ
This month, the sculpture was physically anchored within my aluminium construction system as part of the Virtual Grids project.
New Butterfly Captured
This month, an old drawing underwent a metamorphosis, becoming a new butterfly within the
Naming–Value Butterflies project.
This new project starts from existing drawings. By cutting out the name and date, new forms emerge: value-butterflies that do not carry the image, but the proof of authorship. What usually sits small in a corner yet often determines everything becomes the body of a new species.
To the project Virtual Grids (started in 2001), I’m adding new transformations, starting from the reworking of the canvas The Desert (2001). I’m bringing this together with a second canvas that already carries traces of transformation from its use in my studio.
After some study and testing, I can now animate the virtual grid figure; in 2026 I’ll develop this technique into a series of 3D animations.
Work continued on this canvas: the first two drawings I used for the project Naming–Value Butterflies have now been permanently attached. The leftovers were burned; the axes have been added as a single strip along the bottom edge of the canvas. The idea is shifting toward flames—the drawings are cut in such a way that a fire-like form becomes visible.
The piece began as a play between left and right, an ambiguous choice placed at the entrance of the exhibition. In the studio, green and red flowed apart, later shifting into metal and flesh.
Two drawings — Robotman and Hanging Man — found their place within this field.
The photo shows the most recent intervention: the burning of the edges.
A drawing from 1995, a 2006 oil painting, and a canvas from the Melting Targets project were brought together, taken apart, and rebuilt.
What began as a scene of revenge evolved into Signature of a Rhinoceros: a reborn image where traces, folds, and layers form a new story.