‘Hamal’ 2008

My work comes from somewhere between trivial, daily life esthetics, industrial design and art. You could say that the creative process I adopt is the opposite of that of the classical relief. I incise forms directly into the support – for example wood, I make traces in the support by drilling out and removing material from the support. The 'negative'; of these forms and lines leave a topographical imprint in the surface of the support. In other words the picture / composition is created by the removal as opposed to the addition of material.

Before I carve into the support, I cover the surface of the support with layers of high-gloss lacquer colour. I either leave the incisions into the material of the support to contrast with the high-gloss shiny surface, or I polish and paint the cut out forms. On the one hand, the compositions invite the viewer with their softly undulating forms and lines to come closer. On the other hand, this intimacy is neutralised by the distance and industrial hardness of the inpersonable surface. There are references to minimal art, as well as to Anish Kapour, or Tobias Rehberger in the way I work