The recurring theme in my work is boundaries, in the physical sense, but even more so in an immaterial sense. I’m interested to learn more about the way people try to define their life and their society by drawing lines in the sand, saying: on the one side is this, on the other that. Saying: this is good and that is bad. To me, these divisions often seem arbitrary and make me want to challenge the entire concept of boundaries.
Sometimes, my work focuses on the formal aspects of this theme, as made apparent by the presence of picture frames, window sills, dividing walls or the cracks in them. I am interested in how these signs of separation play out within different contexts or when used in unfamiliar ways.
One of the techniques I use to achieve this is to integrate my work into the surroundings, meaning that there’s no clear-cut line where the work of art ends and the building begins. Also, I use all sorts of old and new mediums in my installation, employing scale models, drawings, photographs, photographic slides and found materials in any combination. The last thing I want is for people to be able to pin me down, to confine me to the field of painting or sculpture.
More often, however, my work plays with the mindset that makes us think in us and them, here and there, then and now. I think we make these divisions to make life more easily understandable, but it also causes mental laziness and can lead to excesses such as bigotry. To upset this, I try to make work that doesn’t follow standard procedure, so that the viewer will have to make an effort to come to terms with it. Hopefully in doing so, the viewer will become accustomed to questioning all boundaries.