Transformation in Motion offers a current overview of what is happening right now: work in progress, studio experiments, recent exhibitions, and short updates. It provides a behind-the-scenes view that shifts along with the work.
What you see here includes studies, test setups, sketches, brief notes from the studio, and recently shown or upcoming presentations.
Click the images to open each transformation and explore the underlying processes.
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.
Noise Preacher emerged from an old oil painting of George W. Bush, combined with a canvas that had, over time, collected spontaneous traces of use in the studio. Those marks suggested noise: disruptions that are now widely deployed to create confusion and division.
The painting was stitched onto the abstract canvas, forming a foldable image in which the preacher becomes more or less visible.
The canvas MT.4.8 from the project Melting Targets was combined with two earlier works: Shooting Apples for Dogfoot (2004) and Warning Bullet (2003). The three canvases were sewn together and share the same theme of the goal. From now on, the work reveals itself on both sides.
This is the latest layer from the project Drawing in
Motion.
The video work has been updated through August 2025.
My former living room now functions as a small exhibition space where I show ongoing transformations. The setting is more restrained than my studio—without the abundance of materials that have their place elsewhere in the house. That calm makes it possible to present ideas in a more finished, yet always temporary form. In this way, a familiar living space takes on a new role within my working process.
In mid-July, Saturn moved from the Kristalpark to the Sahara, the vast sand and nature reserve in Lommel.