'DIFFICULT SCULPTURE V: CHISEL-CHALLENGE' and 'Difficult sculpture II' explore notions of art production and related issues such as costs and feasibility, craftsmanship or authorship of an art work.
'Europallet' hints at the aesthetics of familiar modern art pieces from the 50s but - with its multifunctional use as shelf and room divider - suggesting a 'refunctionalisation' of sculpture.
While 'Signature Piece III' incorporates artifacts and signatures by various model-makers, 'Darthvader-Lamp' promotes a DIY- (Do-It-Yourself) and Pop-culture fusing two unlikely aesthetics - one taken from the world of television (Star Wars), the other from 19th century furniture design.
'IN THE MUSEUM: UNTITLED I' and 'YDI-MAD 1' both are series of partly collaged photographs which capture the comical and and whimsical of the everyday (sometimes slipping one's observations)...
'Holding Music Drawing' (Holding music drawing: British Gas - Mozart 'Eine kleine Nachtmusik', K.525: II. Romance: Andante') is a humorous take on bureaucratic nuisances such as tinned music played out of context (e.i. during extended waiting periods on the phone).
My paintings often inhabit art historical references, sometimes hidden or more obvious such as in 'ExSouvenir' showing two manual reproductions of the notorious 'Olympia' painting by Manet. While'Souvenir' takes its origin from an acquired, handcrafted, African artifact - a typical 'primitive' cultural object - 'Olympia' is regarded by many art historians as a milestone of art history and as the true beginning of Modern Art. By painting two reproductions of 'Olympia' on each cheek of the mask, I perform 'low art' of an 'high art' motive on a 'low art' object...
Last but not least, 'Anyone for tennis' compresses a tennis court onto a 2 m2 object.