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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

What System II




November 2023
Newspapers, ink, string, chalk on paper

As in Dear Donald, the base is formed by newspapers dipped in colored ink. These are rolled up and strung together to form long chains. The fixed format and inflexibility of these rolls largely determine the form and possibilities of the installations. They form, as it were, a system with which I will have to work. My research focuses mainly on how to use this system, but at the same time on how to achieve a freedom.
            Because of their tenuous and suspended form in space, the constructions act as thin frames of the air/emptiness, which thereby becomes an experiential component. The viewer is drawn into an almost weightless and timeless whole. Up close, the colors and words of the rolled-up newspapers enter into new relationships, both among themselves and with the surrounding space, and the viewer is brought back into the here and now.
          (The moment the chains hang on the wall, new areas of inquiry arise for me. When is it a decoration? When and by what can the work transcend this? How do I view the decorative? When is decoration meaningful?)
Mark

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