Man has a great influence on his environment, the world is an amalgam of chaos and horror and at the same time of beauty and ingenuity as a result of human nature. Cultural and natural processes are virtually indistinguishable from each other.

This is what engages me, that’s what my work is about, and the processes mentioned are reflected in the working process of artmaking. I alternate highly precise decisions with intuitive operations and only partially controllable actions. Every painting, every object, every project is a result of interacting forces.

I strive to create pronounced works, but essencially they are about making connections. I have the conviction that, also in the present time, it is useful and necessary to make images in which differences are not smoothened, but in which meaningful and productive meetings of the seemingly contradictory are central. Images that are complex and at the same time look clear. Pictures with a logic that can not be named. Exciting and relevant paintings because of the way in which the constituent elements connect to each other and thereby make a statement about the world. Images that are a parallel universe rubbing against reality, but that can not be reduced directly to a figurative interpretable representation or social comment. Growing and building, flowing and crashing combined in a syncretic way.

Paint flows , fluid becomes image. Just as cells divide , this is how the blotches take shape. I try things out and observe what happens. There is no detailed plan, but an intention does exist. Experimentation and variation sooner or later lead to a combination of elements that proves fruitful, one that’s new and yet holds up. A new form of ‘suitability’. Darwinism in paint. Paint shows itself and shows this process. A blotch is both itself and an organism functioning within a whole. The painting is its own domain as well as a portrayel of the (complexity of the) world in which it exists. There is no distinction between the abstract and the figurative.