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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 V







October 2022
Cardboard, pigments and casein
Height 9 cm 

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).

Crosswork V consists of several cardboard plates that are pushed together two by two. This creates small architectural objects in various arrangements. While differing in length, they share the same height, giving the plates the option of interchangeability. Due to the matt character of the homemade paint, light and thus time have a great influence on this work. On a table, the objects look like models. On the floor, they become part of the bigger picture. As the viewer walks around the arrangement, the relationships among colours and the surrounding space continuously shift.


Mark

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