Visual diary

In my eclectic nineteenth century cocoon, at the edge of town, I like to dream away in dazzling views. Besides the souvenirs of places I visited, I find inspiration for my paintings in images from a newspaper, book or magazine. It is never about the image only, but about the trip in one’s memory. Travelling happens mainly in one’s head.  Real or imaginary trips in the past. Painting is a way to keep memory alive.

My worst fear is to lose my memory, because memories make you who you are. Your entire soul and existence is connected to your memory. In fact your mind is made up of precious and original memories that have determined your life and keep haunting you as long as you live. In my art I try to isolate a moment from the ruthless speed of time, a moment which I try to reveal to others. The sensation of that moment in time is evoked and intensely felt whilst I am painting.  I try to transform that sensation into an image. Of course, not every moment needs this transformation, only those moments or fragments of moments which actually changed the machinery of my heart. A sharply defined, sometimes abstract image. Music helps me to capture the right mood.

The setting of my painted diary used to be indoors, but now this has changed. On the current pages I prefer the townscape, whether it is imaginary or not, seen from frog or birds eye perspective, or presented as a cross section. On the very edge of emptiness where expectations are open, I want to create pictorial insight, space and freedom. I create a geography of the mind through which you can travel.

For me it’s all about the excitement of the creative process, whereby I want to keep improving my craftsmanship and finding the most personal expression of my microcosm. In my work I am looking for the visual power of a painting, the way an image can be expressed by means of paint as a material with a tactile nature. The finest portrait linen, high quality paint (Oud Holland) and brushes are my favorite instruments. Whilst painting, life is lived more deeply. Glazing techniques form a time consuming process, whereby several thin layers of paint are applied one by one. As a consequence, things can be fathomed more into depth. The space which is created in paint gradually becomes a spiritual space. This time I give in a sense to the beholders. Of course I hope that the spectators will not be in a hurry or too distracted, taking the time to look and dream away in the story before them.