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 VI




April 2023 — September 2023 
Photoprints on Hahnemühle paper
11 x 7 cm; with passepartout 29,5 x 21 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).

One morning, I had the idea to use the cardboard elements from Crossworks II and III to build a coloured environment in which I could dwell — a concept reminiscent to the utopian ideals pursued by artists of De Stijl. However, it was rough, messy and alienating because of the old material (cardboard) and random use of colours. The work was built on an intuitive and changeable basis with no concept or plan, bearing a resemblance to the improvised décor or the favelas in South America. Capturing photographs and small prints of the work allows for the gross materiality to be transcended, providing greater access to the viewer's imagination.


Mark