Stoneware

STEENGOED of grès is gemaakt van een kostbare kleisoort die op hoge temperaturen gestookt wordt (1200 - 1300 °C). De klei verglaast en de poriën verdwijnen, bijgevolg is deze keramiek ondoordringbaar voor vloeistoffen. De steengoedklei wordt niet zo dun verwerkt als porselein en de scherf is niet doorzichtig. Dit keramisch product is zeer slijtvast en wordt toegepast in de vorm van vloertegels, rioolbuizen, bierpotten, serviezen,vazen.

THE ROOSTER CROWED FOR THE SIXTH TIME

 

A series of works about misuse of power and child abuse by the church. It happened all over the world. The church would transfer the accused to another parish, considering this a solution. As there were no trials, the problem would spread and be kept dark, making even more victims.

BETRAY

52cm x 12cm

DENIED AGAIN

56cm x 16cm

DESPERATE

40cm x 13,5cm

GOLD, MYRRH, FRANKINCENSE AND TEARS

52cm x 13cm

EJACULATORY PRAYER

44cm x 12cm

GRIEVOUS

58cm x 15 cm

SCEPTER OF A SINNER

27cm x 10cm

STASHED

11,5cm x 7,5cm x 6cm

CONSCIENCE

31cm x 9,5cm x 14,5 cm

CHURCH AND ALL ITS GODLINESS

34cm x 16cm x 12cm

CASE CLOSED

26cm x 13,5 cm x 13cm

GRIPPED

28cm x 12,5cm

SHUDDERY SHRINE

40cmx 12cm

GLOSS

21cm x 13,5 cm

TWO-FACED

21cm x 11,5cm x 10,5cm

HEARD BY SAINT PETER

23cm x 19cm x 13cm

SEABED

A voluminous azure sculpture. The graphic treatment with the lighter blue and the rhythmical lines in the composition refer the motion of seawater.

FOND DE LA MER

28cm x 34cm x 47cm

EAVES

 

Eaves are the lower border of a roof that overhangs the wall, the rain dripping from it. Utensils used to be made of ceramics of such a decorative nature that their usefulness was not noticeable anymore. Houses of the rich for instance used to have highly ornamental roof borders. Austere architecture design nowadays will be using other materials. Dutch ‘ozie’ refers to a useless utensil and becomes ‘oh…zie’, i.e. ‘look at me’.

 

OZIE

18cm x 40cm x 26cm

BUTTON

Black ceramic button, finished with recycled rubber. A button axle with two volumes. On one side there seems to be a superfluous mass. Strangely enough the presence of the ’superfluous’ rouses interest.

DROP

18cm x 29cm x 19cm

PSYCHIC AFFINITY

 

‘Every Jack will find his Jill’ For many people the link with utensils in ceramics is obvious. Here I try to enter into a discussion on art and craft with the spectator. Could a utensil be a piece of art?

PSICHIC AFFINITY

16cm x 48cm x 24cm

THE FLIC FLAC FLASK

Standing on end this figure makes us think of a vase or even a urinal. The wedge-shaped underside causes an interesting, funny and unstable feeling. The object was treated with wax, so it is no utensil. Spectators are made to look for the difference between art and design.

THE FLIC FLAC FLACON

26cm x 16cm x 18cm

A RED VASE IS A RED VASE

Anarchism is fun, no container this time. A sculpture rhythmically built up by elements thrown on the wheel.

In the centre there is a piece of vitreous china that might refer to a part of a vase. The transfers on it are alongside a long-drawn-out shape of the neck of a bottle, stretching gracefully like a dancing leg in the colour of love. Spectators may decide whether they would call it erotic.

EEN RODE VAAS IS EEN RODE VAAS

21cm x 40cm x 27cm

PALPITATIONS

 

A blood-red machine producing motive power. An engine block. A heart. A theme that regularly occurs since my father’s death.

 

PALPITATIONS

25cm x 31cm x 44cm

MIRÓ

 

A highly varied arrangement of elements, which produces a different radiation from every angle. The asymmetric point in a circle is the link with the title.

 

MIRÓ

34cm x 28cm x 33cm