My studio is my command center. It’s the place where everything takes shape – much like a black box – things are coming inside in one form and leaving as an entirely different one. It’s as much a conveyor belt, as the place where the human machine throws their hands and thoughts around.
What I do in one sentence: I look at visual conventions, I dissect them and transform the themes I find into drawings, paintings and installations.
Why I didn’t get a proper job: I believe I would find it quite difficult to spend my life working for another person’s vision.
An artwork I dream of and I would get accomplished if space, time and money were abundant: Charlie Robot.
Why I do what I do: Because nobody else does it.
Artists, I have on my watch list (and why): I really like Anthea Hamilton’s all encompassing exhibition set-ups. I visited her in her studio in London around ten years ago, and she had all these props and displays lying around. She is investigating contemporary culture and her shows are these luscious worlds of their own. I also really appreciate Anna Uddenberg’s sculptures. The poses are iconic but in a revised contemporary way. She manages to incorporate fashion in an intelligent yet highly enticing manner into her work. It’s hard to work figuratively without being suspected of naïveté and her work is really straightforward and unapologetic in this sense.
I am afraid of nothing in particular but I worry about where humanity is headed.
I know that a piece is finished when it doesn’t look quite finished yet and leaves you wanting, asking the viewer’s brain to fill in the blanks.
How I want to be buried resp. words I want to be written on my tombstone: Press here to revive.
My studio is my command center. It’s the place where everything takes shape – much like a black box – things are coming inside in one form and leaving as an entirely different one. It’s as much a conveyor belt, as the place where the human machine throws their hands and thoughts around.
What I do in one sentence: I look at visual conventions, I dissect them and transform the themes I find into drawings, paintings and installations.
Why I didn’t get a proper job: I believe I would find it quite difficult to spend my life working for another person’s vision.
An artwork I dream of and I would get accomplished if space, time and money were abundant: Charlie Robot.
Why I do what I do: Because nobody else does it.
Artists, I have on my watch list (and why): I really like Anthea Hamilton’s all encompassing exhibition set-ups. I visited her in her studio in London around ten years ago, and she had all these props and displays lying around. She is investigating contemporary culture and her shows are these luscious worlds of their own. I also really appreciate Anna Uddenberg’s sculptures. The poses are iconic but in a revised contemporary way. She manages to incorporate fashion in an intelligent yet highly enticing manner into her work. It’s hard to work figuratively without being suspected of naïveté and her work is really straightforward and unapologetic in this sense.
I am afraid of nothing in particular but I worry about where humanity is headed.
I know that a piece is finished when it doesn’t look quite finished yet and leaves you wanting, asking the viewer’s brain to fill in the blanks.
How I want to be buried resp. words I want to be written on my tombstone: Press here to revive.