In my series ‘natures’ (ongoing since 2018), I ask the question of the basic conditions for painting. What is the main reason we call something a painting? Layers on a surface and the relations arising from that? What happens in the work when the materials are deliberately chosen to allow further  processes to take place? Painting as an object begins to be performative.

Layers of white paint and dried roses interact with each other and determine the course and pigmentation of the painting, just like a layer of snow when it melts and makes the underlying ground appear. 

Apart from the various layers and their interaction, the social context of the materials and the networks behind them are equally important. The roses received as a gift, collected over the years are significantly linked to a specific gesture, connecting the seemingly abstract looking works to questions of gender.

2021 expanding the body of work ‘natures’ in a performative way, by thinking of the relationship between landscape and subjectivity. For opening up this body of work, I am including the performative aspects of the body, its relation to the environment and access its possibilities of becoming the ‘brush’ itself. As such, ‘imaginary landscapes’ are formed.