Keywords: Visual art, conceptual art, participatory art practice, sculpture, public space, an architecture of interaction, communicatory toolbox, material culture,
Visual artist, live and work in Amsterdam
A central theme within my work is my personal obsession with collecting, making and loving ‘things’. I am searching for an enriching experience between object and human subject. How do people and things relate?
When I started to work as an artist in 1992, I was dealing with objects that had identifiable values and meaning attached to them: the work Dröge-Wendel (1992) is a marriage between myself and a piece of Wendel furniture; or an automobile- Renault 16TL La benedizione della macchina (Prix de Rome, 1994). With time and in searching for more clarity, I began to look for objects that were more neutral in their significance: with less or no readily identifiable characteristics.
In recent work, I look for objects and surroundings that can listen. I look for objects that do not intend to express. These objects and surroundings should have an emotional value and relational abilities and provide myself and others with the freedom to emplace meanings. They should show the capacity and willingness to adopt and absorb feelings.
I mainly work for galleries and museums. In addition to this I recently started to make work for/in public space.
In this context I initiated the project An architecture of interaction in 2004. With a core group of six artists and theorists we made the attempt to objectively describe and analyze participatory practices by neutralizing the parameters and focusing on quantitative instead of qualitative aspects. Our main aim was to develop a communicatory toolbox that can be used to talk about and compare the processes, meanings and effects of interactive work — especially the stages of interactive work where no outcomes or precise outlines can be defined a priori.