6/
20

DEAR DONALD
Installation of ink-dipped newspapers hanging loosely over a rod

8/
22

WHAT SYSTEM I
Installation with multi-coloured newspaper tubes

WHAT SYSTEM II
Installation with multi-coloured newspaper tubes

THE ATLANTA SERIES
File folders of the Atlanta brand, coloured with gouache

4/
21

CROSSWORK I

Handbook of colour, based on a fresco cycle

10/
21

CROSSWORK II

An ever-changing field of coloured boxes in which the visitor can participate

5/
22

CROSSWORK IV

One day event at the monastery complex Hoogcruts

10/
22

CROSSWORK V

Small architectural objects in various arrangements

9/
23

CROSSWORK VI

Small prints of a cardboard installation in the studio

8/
23

CROSSWORK VII 

Second, minimal version of the handbook from Crosswork I

SPECIES

Secret gardens, created during the process of Crosswork VII

9/
23

THE CARBON SERIES

Transparent packing material of carbon paper

12/
23
W HOLE
Colour fields with holes, belonging to an unknown larger whole

9/
20
JUST WHISTLE
No explanation needed

11/
21
UNTITLED (for Etel Adnan)
Installation made as a tribute to Etel Adnan

7/
24
CROSSWORK VIII (Corner Pieces)
A little ode to the corner, where three surfaces meet and create space



Mark

Crosswork II




October 2021
Used shipping boxes, pigments and casein
Lutheran Church, Maastricht

This work is part of The Crossworks, an ongoing series of projects that have emerged from each other since 2021. The works have no definitive state nor form; they are always in transition. The interrelationship of color, matter, light and space is explored in this series. They are based on the fresco cycle “The History of the True Cross” by Piero della Francesca (± 1460; Arezzo, Italy).

For Crosswork II, discarded shipping boxes were painted on the inside with the colors from the workbook of Crosswork I. All colors were self-made from pigments and casein. The matte character of the paint enables the colors to contain as much of the natural light as possible. Irregularities in the paint and in the stroke were accepted, showing the traces of the hand. The colors of four of the five planes were determined by the workbook, the fifth plane being a personal choice. This gave me the opportunity to activate, harmonize or contrast the colors. The 4 raised sides provide an architectural addition, allowing light and shadow to play an even greater role. It also creates an ever-changing field of vision for the visitor who moves around and in-between the work. As a result, colors constantly enter into new relationships, both among themselves and with the surrounding space.
The boxes can be presented both closed or opened, in which the visitor has the freedom to participate in the arrangement of the installation.
Mark