What I try to convey with my painting is energy.
For me art is about stimulating whatever is in the beholder.
One can burst into tears, scream for happiness, laugh or experience any other emotion.
If one is, after encountering my work, a bit different than what they were before, I am satisfied.
I see myself as a messenger traveling between two worlds: from my own ‘inner’ world to the ‘common’ world and back, see it as the character from Greek mythology, Hermes.
I pick the flowers from my unique, inner world and translate them via a comprehensible medium to the outer world.
The longer the journey, the more unique the flower and, therefore, the artwork.
This explains why I work on a painting for a long period, in lucid concentration, and often in solitary periods.
My biggest inspiration is – besides reading, interacting with other humans and observing society- without any doubt: Nature.
On the entrance of the Amsterdam Zoo, where I used to go as a child, is written in big letters ‘Natura Artis Magistra’.
This is Latin for 'nature is the teacher of art', and I could not agree more.
As an artist I put myself in the footsteps of the all-embracing piece of art created by Mother Nature.
For instance, look at the complex symmetry of a snail shell, better than a Mondrian. See the tension in the claw of an eagle, the most powerful Franz Kline; observe a bright, red berry against a green leaf; two strong complementary colours invented by Mother Nature long before Goethe or Johannes Itten wrote about them.
And I could go on forever.
Signing a painting for me is like cutting the naval cord; the painting is born.
As a parent I can solely support it by giving it a title, writing poems on the backside, using the best materials, and conserving it in the best way possible.
However, the fact that I am the painter is, for me, of secondary importance, just like the parents of a human being are to define the child.
The painting now has to deal with the world and its spectators.
I gave all that I could.
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