Location: Belgium
My figurative-expressionist practice explores the human body, psychological tension, restriction and resistance, identity, and loneliness. Every artwork is entirely handmade and unique; no prints or reproductions are produced. I run my artistic practice independently, managing studio production, commissions, online sales, and participation in the art market.
“I paint bodies because the body never lies. In my work, figures emerge from colour and chaos — they reach out, collapse, observe, and dissolve into one another. I am interested in the psychology of being human: the tension between loneliness and connection, between power and vulnerability, between the self we perform and the self we silently carry within us.
My practice moves between pencil drawing and acrylic painting, sometimes incorporating found materials, coffee stains, and collage. More recently, I have also begun developing ideas for installations.
I do not plan my work — I allow it to emerge. The figures I create are never portraits; they are emotional states given a body.
Recurring elements in my visual language include balloons, horizontal lines, fragmented faces, pointed hats, and cages. These are not symbols I deliberately chose — they are symbols that kept returning until I started listening to them.”
The human body, psychological tension, restriction, identity, loneliness, conscience (good versus evil), and doubt.
Acrylic on canvas, charcoal, pencil, pyrography, raised gold-leaf details, tape, collage, and three-dimensional installations.
“Blue State of Mind” — A triptych consisting of three small canvases (30 × 20 cm), featuring blue figures, including The Inner Witness and When Touch Becomes Memory.
“Burnt Series #1, #2 and #3” — Pyrography, raised gold lines, and graphite on burnt paper, mounted and glued into canvas frames.
“Wat Holds, Wat Snijdt” (What Holds, What Cuts) — A conceptual series using tape as its primary medium.
“In Dubio” (working title) — A project consisting of four life-size acrylic paintings and five installations, exploring the human condition of being torn apart by doubt, personal principles, and the struggle between good and evil. This conflict is represented through small figurines wearing red and blue pointed hats.
In the paintings, the human figure threatens to disappear; in the installations — including cages, large-scale relief works incorporating an oil drum, and a monumental steel cage measuring 2.5 × 2.5 × 2 metres — the human figure rises again.
“The Inner Side of Seeing” — Project in development.
A solitary blue figure sits withdrawn into itself, caught between reflection and surrender. Around the body, small golden forms emerge and move across the canvas like persistent thoughts, memories, or external influences. At first glance, they seem insignificant, but gradually they occupy more and more space. They climb onto the body and gather around the figure.
The contrast between the cool shades of blue and the vivid yellow-orange forms creates a tension between vulnerability and intrusion. The work explores how emotional burdens rarely appear as a single overwhelming force; instead, they accumulate slowly, settle into the body, and eventually become impossible to ignore.
Silent Occupation explores the invisible weight of internal pressure, the gradual invasion of personal space, and the fragile boundary between the self and the forces that seek to influence or take control of it.
Features:
The blue figure dominates the composition and immediately creates an emotional focal point.
The yellow-red figures act as psychological intruders rather than literal characters, which makes the image intriguing.
The large empty blue space on the right creates a sense of isolation and mental distance.
The contrast between the calm seated posture and the restless smaller figures creates tension without becoming illustrative.
“Silent Occupation”
