Post-Impressionism
In this group of works I indulge in my fantasies; memories of great, important and also difficult times in my life. In this place locations, symbols, movies, tv shows and icons play an important role. By reliving memories I track down the origins of my fantasies, ideas about beauty and style and even ambitions. Connections are sometimes simple, and sometimes complicated.
dated 2012 until 2021
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Freezin' Marilyn
2021The painting is the center of a threepiece depicting the story of Marilyn Monroe's career, the downfall of the studio system and Marilyn's love/hate relationship with the Fox Studio. Its an expression of my frustration towards the way Marilyn is usually portrayed, as a beauty icon, instead of a creative phenomenon. Forced by her slave contract, she had to work for every movie the studio deemed profitable. The run down Niagara poster refers to her work with director Henry Hathaway, who, contrary to most other people, believed in her talent and intelligence. Her fear of never escaping MM led to an emotional crisis while finishing the Misfits. She was found by Hathaway at the back of the studio complex and poored her heart out. I used this moment to show what it must have felt like; being left out in the cold by her star status, the studio and Hollywood in general (hence the cut-off hollywood sign). After starting her own production company she said: 'The danger was that I would start to think this is what I am, and what every woman is'. The previous versions of Marilyn are seen in the rest of the painting: faceless girls made up by studio execs. She became obsessed in a healthy way with the idea of 'becoming' a complete woman, who defines herself instead of being defined by others.
Tony (Scarface series)
2018The , at first, underrated movie 'Scarface' turned out to be one of the most important movies (artworks) of the 80s. Brian de Palma and all the other people working on it changed the way crime movies were made. Especially the work of brilliant stylist, the late Ferdinando Scafiotti was pioneering; instead of creating a dark depressing world he showed the attraction of a life in crime by creating an exiting decor of bright colours and glamorous surroundings like the Babylon Club, which he created from the studio floor up. By doing that he influenced the way beauty and glamour were seen by a whole generation, namely mine. By painting a few of my favourite moments in the movie I'm honouring the influence the makers had on not just the 80s generation but on crime movies and styling in general.
Roietasman!
2012
The 'Cubic buildings' at the Blaak in Rotterdam that created a sensation when they were build, look pretty dilapitated now, especially from that angle.
When they were new, I was young and optimistic about the future, and the buildings seemed to emphasise that feeling. Now they seemed to stand for lost glory.
The city can be a cold and lonely place, but also gives the opportunity to tap back into that feeling one had at 18, when you felt everything was possible.
The red bag theme was a coincidence and started as a joke, hence the title that means something like: redbagman!, but later I started using more red bags expressing the heavy bagage a lot of people carry with them.