• THE MEDIUM’S TRICK & THE MATTER’S TRUTH (2026)

    200x200cm, blood on canvas.

    The world takes shape as the light of the real is filtered through a membrane, a living, shifting surface woven from language, patterns, narratives. Yet we lose awareness of this skin-like film, a trick where the entangled whole becomes visible only as separate parts. I seek a way back, to observe the membrane, and perhaps to make it visible to others.

    Numbed by distractions and dopamine fixes, saturated by an artificial spectacle that replaces embodied experience with a stream of weightless images, I felt debased. In my fly-infested studio, I sought a feeling to pierce the veil, and found the real at the bottom of a jar of gore. Sinking, I felt catharsis.

    Alchemy, for me, is a method for studying processes, above all the process of meaning making, how attention changes both the perceiver and the perceived. These works are my instincts swallowing the rational self, an unmaking that dissolves rigid ways of seeing. What I show are the traces of a ritual where inner workings become visible.

    (Animal) blood is transgressive, heavy with mortality and sacrifice. I atomize it with a paint pistol into static, a snow of noise like an untuned television. Working intuitively, I let the particles guide my hand in divination. I join the materials in becoming the medium, embodying the role of Mercurius, the trickster-guide of alchemists. Stretcher, canvas, blood, tools become the circle, and I am transformed alongside them.

    What you see is partly what you bring. Living matter, the blood will oxidize from deep red to brown and black, never the same twice, a process that includes your attention.Receive these as presences, membranes breathing materially. Meaning arises in the space between you and the surface, a trick that tells the truth by changing before your eyes.

    EXHIBITION HISTORY

    Floor is Lava (ONGOING)
    Joey Ramone Gallery, Rotterdam

  • DARK WOOD RITUAL (2026-)

    Total runtime of 2 hours, paper scroll of 150x2250cm, charcoal, erasers, scissors, incense, casette tape-loop, casette boombox, nails. First public enactment, documented here as the opening of an ongoing series.

    Dark Wood is an alchemical ritual born through a developing studio practice. The method, staring into the grain of a charcoal-coated surface, erasing without a predetermined image, letting the material itself suggest form, was originally a conversation between the maker and the medium. This public iteration, first realised during a fellowship with Baltan Laboratories, translates that intimate grammar into a shared space.

    Participants enter a magical circle, a zone indicated by the scroll of paper, which is ruled by a different logic. A repetitive, synchronizing sound fills the room from a tape-loop, a scroll of blackened paper hangs before them. They are guided to choose a word, repeat it until meaning dissolves into vibration, and then to erase the charcoal by following the patterns that emerge from the noise. There is no intended outcome, no desired image. The hand moves in response to what the surface reveals, not what the mind imposes.

    The instructions are simple but strict: lose yourself, don’t think, deduct, intuit, and yet no two traces ever resemble each other. When the conscious mind is occupied with the mantra and the ritual bounds, the unconscious speaks in a language before language. Figures, textures, and gestures surface that could not have been planned. The scroll becomes a collective map of inner terrains glimpsed in a state of heightened receptivity.

    This document records the first workshop in what I hope will be an ongoing cycle. The theory that underpins the method, alchemical stages, the role of the inner guide, the cut-up of perception, is gathered at athanor.one. For those curious, the only way to understand Dark Wood is to enter it. The ritual continues to evolve, and each participant leaves a mark that shapes what it becomes next.



    EXHIBITION HISTORY

    The 21st Century Alchemist (2026)
    Curation: Baltan Laboratories
    Documentation: Barbara Medo
    Van Abbehuis, Eindhoven


  • FURNACE1/DARKWOOD (2025)

    1200x200cm (flat) / 6,92m2 (floor space), upcycled root tarp, sand, acrylic paint, wood, wires, digital projection. Part of ARTEFACTS series.

    An empty furnace awaiting fire. Portable, it is rolled out, unfolded, hung up and set alight in places wishing to accomodate it, and the roar that comes when it is activated by ritual. It is transported from place to place like a travelling circus, searching for materia to dissolve and coagulate.

    For those wishing to cross paths: https://athanor.one

    EXHIBITION HISTORY

    GRAW (2025)
    C3-Studios, Rotterdam

    Geel Blauw Land (2025)
    Kunstgarage Franx, Zoetemeer

    Living Intentionally (2025)
    Nul Zes, Eindhoven

    Ears to the Ground – MA Graduation Show (2025)
    Clublokaal, Breda

    TNT (2025)
    160K, Rotterdam

    Athanor (2025)
    Koda, Schiedam

  • MAP4 (2026)

    Charcoal on paper, 20x20cm. Part of the Dark Wood series.

    EXHIBITION HISTORY

    BANIER (2026)
    Banier Atelier, Rotterdam

  • CLOUD/ICON (2025)

    Acrylic spray paint on wall, ~100m2 surface at Hof van Zuilenstein, Rotterdam. Commissioned freestyle mural for All Caps Festival 2025.

    PRESS
    In De Buurt “9 x nieuwe muurschilderingen in Beverwaard”