Her writings try to draw the formal attributes of their media into their content. Her visual work revolves mainly around materialising absence.
The requirements of a language that wants to refer to absence, without filling it’s void and becoming the subject, make that her figurative imagery is often of an intimate, airy, fragmented, deconstructed and/or small scaled quality.
Research (+small exhibition), @Het Bos
2023
Naking (naken in Dutch), as close as it might seem to get to it’s past participle, is never naked. In this mode the verb leaves who- or whatever conjugates it without a terminus and seemingly without intimacy.
From a similar incentive the research grows to ‘transparency’—an attribute that is not a liar, but a trickster.
Although transparent things suggest openness and access, the adjective is usually applied to the exact thing keeping you from what it shows. In addition, this see-through quality is only there, as long as the brightness of the posterior image lasts. Once it turns dark you end up looking at yourself.
These deceitful poetics apply to windows, digital screens as well ass reflective surfaces in city scapes.
The material study was done in glass, mirrors, spot lights, sun movement and skin coloured fabrics. Imagery involved screens, embraces, wetness and flowers (for the view), spirals (for the road).
2022
- Poems on invisibilty and inaccessabilty.
- Accompanied by a lap sized choreography with objects in clay, veneer, crystal, thermal paper and matches.
- Performed in the botanical garden of Haren, during Dichters in the Prinsentuin.
Forever-ever
- A forever growing body of images. This living catalogue is a tool for other projects.
- Like Wijs de Weg Weg for example.
2024
Performance + installation
2022
(Scans made by Ine Meganck, r:v’s in-house designer)
The result is a fixed plot, a fixed form (hand drawn leporello publications) with fixed pages and different drawings in every version of the publication. The catalogue providing it’s imagery is ever-growing.