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.
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.
A voluminous azure sculpture. The graphic treatment with the lighter blue and the rhythmical lines in the composition refer the motion of seawater.
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’.
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.
‘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?
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.
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.
A blood-red machine producing motive power. An engine block. A heart. A theme that regularly occurs since my father’s death.
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.