Looking to furniture for answers - Charcoal on paper &Graphite mural on wall, 185x300 cm, 2024.
Shown at De PersoneelSkamer space in Amsterdam. A series of characters living in fast-forward cities must come to terms with stillness inside their apartments. They forget how their joints worked so they look to nearby architecture and furniture for how to bend, move or simply exist.
Individual titles, left to right:
Row 1: CCTV. x. Headrush. No room for this. Reverse
Row 2: x. How to wrap. Singeply. How to support yourself. More.
Row 3: Multiple bends. How to fold. Storage solutions. x. MORE.
Row 4: Storage. Tall shelf. Big room. Stop!. *crash*.
Build a Cradle - 100x70 cm. Close up of a drawing from ‘The problem is Gravity so high off the ground underperforming street lamps UNderground comfort of weight of the city and all its inhabitants’.
Build a Chandelier - 100x70 cm, 2023. Close-up of a drawing from 'The problem is Gravity so high off the ground underperforming street lamps UNderground comfort of weight of the city and all its inhabitants'.
The problem is Gravity so high off the ground underperforming street lamps UNderground comfort of weight of the city and all it’s inhabitants - Charcoal on paper, charcoal and graphite on wall, 420x700 cm, 2023. Graduation exhibition at Piet Zwart Institute. This installation is a series of drawings of characters who are a combination of: people, furniture, people becoming furniture, and furniture as characters. The loose grid-like shapes on the wall, also made using charcoal, acts as a sort of framing device, separating the characters in different enclosures. Up-close, this made visible past textures and marks left behind by previous inhabitants. Alongside this I created an installation of a chandelier 'blown away' by a nose exhaling too loud from the top of the stairs (next image).
The problem is Gravity so high off the ground underperforming street lamps UNderground comfort of weight of the city and all it’s inhabitants - Charcoal on paper, charcoal and graphite on the wall, PLA, wire, plasticine, 560x420x250 cm, 2023.
This shot of the installation shows a chandelier ‘blown away’ by a nose exhaling too loud from the top of the stairs (next image). This character/dress-like chandelier is used as both a narrative and framing device in the work.
But I Cant See - PLA, tape, charcoal on paper, graphite charcoal and watercolour on wall, 2023. This installation consists of precarious, unfinished building structures, which guide the movement in the room, and frame the works presented on either side. The floor pieces, titled ‘looking through the arch’ consist of multiple blocks piled on top of each other, they make a satisfying wobble if you slam the door shut. It explores notions of visibility to the point of blindness, our private observation decks and the stability of our perspectives. From this view, you can see two pieces framed by the floor sculptures, titled 'Chairs that you sit on' (bottom left), and 'Masterplan' (top right).
But I Cant See - PLA, tape, charcoal on paper, graphite charcoal and watercolour on wall, 2023.
This installation consists of precarious, unfinished building structures, which guide the movement in the room, and frame the works presented on either side. The floor pieces, titled ‘looking through the arch’ consist of multiple blocks piled on top of each other, they make a satisfying wobble if you slam the door shut. It explores notions of visibility to the point of blindness, our private observation decks and the stability of our perspectives. From this view, you can see the wall piece titled 'Windows that were blown away by the wind', which focusses on a state of hyper awareness towards the physicality of our view to the outside world, with glitches in logics of transparency. ‘Seeing through’ to what?
On your way up! - Charcoal on paper, charcoal and graphite on wall, 150x230 cm, 2022.
This drawing animates a scene which zooms in on a set of stairs, where the steps seem to simultaneously be moving up and down at the same time. The composition is meant to portray a rhythm of sorts. The stairs are further abstracted into boxes, relying on each other for support, and at times presenting the viewer with an x-ray vision of their interior.
Rooms for Error - Charcoal on paper, 1000x110 cm, 2022.
This work exists on a roll that I am continuously working on, which I hope to keep presenting and representing as it grows. The spaces presented warp perspective, compile and merge into each other, there is no exit route and the logic of structure changes throughout. The spaces depicted may be ghostly or clinical but they still claim to maintain an atmosphere of cosiness nonetheless.
Welcome to the Capital - Wood, clay, plasticine, newsprint, drawings on paper, tape, etching print. 2022. 260x195x370 cm.
This installation presents a frame of sorts, held up by large supports with feet made of plasticine, clay and wood. There is an optimal viewing spot in the space (which are visible in the following images) that will allow you to see all the drawings in the right frames. The VIP viewing spot presents a less favourable but still adequate view. As part of this installation, I performed a short piece as a tour guide behind one of the frames of this structure, about an angry cop, a bitter housewife, and an American doctor, all connected through a car accident in one of the capital's busy highways.
