In “textworks” you will find the development in which I started to use text from my diaries in my work. The first painting with text and painting that I did in 2014 was on the basis of an early entry in my diary. I was invited to participate in “De Hommage” for which a number of painters made an ode to “Het Puttertje” of the famous 17th century Dutch artist Carel Fabritius. I had written about a book  an uncle gave to me as a present, it contained one hundred masterpieces from the Rijksmuseum in Amsterdam. It said more about my uncle and his enthousiasm for my drawings than about “het Puttertje” which was in the Mauritshuis anyway. I duplicated the text on canvas and over it I painted a free rendition of the little bird. I loved it and I took two texts about my hitchhiking adventures in Germany for which I followed the same procedure: “Aquaplaning” and “Dillenburg”. Sketches are shown below. I showed the paintings in Berlin at the Augentausch-exhibition at A-Trans in 2015.

I started to experiment painting texts and punctuation marks on a monochrome background. Then I added imagery to it. I also started to process memories of my time in California, right after Dutch art-school. This was in anticipation of what came next: In 2016 I traveled in the USA with a grand from STROOM. I applied for research on Black Mountain College and some other influences I had during and right after Dutch art-school, when I studied at CCAC in Oakland California. I had turned to Europe after all that and still echoes of this culture haunted me, so I wanted to know the relevance of these influences in my present practice. I wanted to have as much talks and discussions as I could to capture the state of the nation. So I traveled Greyhound.
Eventually this turned against me: this was the year that Trump campaigned to be president and the media were full of his rhetoric while the stories I heard and the people I spoke to talked about unemployment, poverty, evictions, devorce, unsufficient health-care, homelessness, hopelessness and more misery. It really got to me and my focus changed  from my own intentions to the people instead. I wrote down quotes and descriptions in my diary. At home I made sketches of the people I met and wrote quotes in the sketches: The Pre-Trump Portraits. Here you can see some. I also started to make sketches for larger work I wanted to make, some sketches you can see here. My art-memories about working together and publishing Ysland Magazine in the eighties and the way artists from New York socialized in bars and restaurants in the fifties. But also a sketch about the eviction I heard about. And there’s more coming!