In my studio I have a wall with images and archive material that stayed in the back of my mind while making the works for this show: cuts, turned backs, looped shapes, veils, openings. Each gesture moves toward something hidden or just out of reach, then turns the encounter back toward the surface.

Dubbele Huid / Double Skin starts from the surface as a porous boundary. Paint-skin and paper-skin, facial skin, a butterfly’s wing, glass-like surfaces, cloth, and veil. The works move between appearing and disappearing, inside and outside, object and subject.

A quiet desire to reach through, or even break through, runs through the exhibition. The imagery often carries an erotic charge: slit, wound, membrane, fold. But intimacy does not reveal a deeper inside. The gaze returns to the surface.

The exhibition is built in clusters. Motifs return in altered forms: echo, afterimage, inversion. Images tilt into something else. A cut can read as both slit and smile; an enclosure can also become a void. The portraits are not directly autobiographical. They surface, withdraw, and repeat, more like memory or self-perception. Meaning does not sit behind the image. It happens in the gap where approach turns into return.

Exhibition documentation

In my studio I have a wall with images and archive material that stayed in the back of my mind while making the works for this show: cuts, turned backs, looped shapes, veils, openings. Each gesture moves toward something hidden or just out of reach, then turns the encounter back toward the surface.

The exhibition is built in clusters. Motifs return in altered forms: echo, afterimage, inversion. Images tilt into something else. A cut can read as both slit and smile; an enclosure can also become a void. The portraits are not directly autobiographical. They surface, withdraw, and repeat, more like memory or self-perception. Meaning does not sit behind the image. It happens in the gap where approach turns into return.