Overview Paradise Excavated, Willem Twee Kunstruimte, 2023, photo by Gunnar Meier

Continent (Survivors), 2023, 72x47cm, underglaze and oxides on red clay, photo by Gunnar Meier

Sleeping Together, Trial, 71x43x17cm, underglaze and oxides on red clay, photo by Gunnar Meier

Vrouw bij de zee, 2023,148x83cm, underglaze and oxides on stoneware, photo by Gunnar Meier

 Purification, 2023, 71x43x17 cm, underglaze and oxides on stoneware, water, Prospects, Art Rotterdam

Zeeburgerdijk 109B,106B,103A, 99A, 99B en 99C, 2021, 157 x 90 cm, fabric paint on handmade towel, used by my nextdoor neighbors and machine washed, Koninklijk Paleis Amsterdam

Holiday, 2021, fabric paint on carpet tiles and handmade washcloths, water and soap in oven trays, photo by Tom Haartsen

Holiday, 2021, Koninklijk Paleis Amsterdam, photo by Jeroen van der Meyde

Foot wipes (element of Holiday), 2021, 24 x 20 cm, fabric paint on handmade washcloths

Head of the family, 2021, fabric paint on handmade towels and washclothes, acrylic on serving plate

Royal College of Art degree show, 2019, installation view with collection of work

Vergaderpak, 2019, 250 x 600 cm, vinyl paint on stitched PVC, (RCA degree show)

Vergaderpak: This painted flat suit brings three bodies together. The audience can wear the suit, dressing and undressing as a group. Feeling each other's hands on the ends of the sleeves often cause them to decide to hold each other's hands.

I wanted to make an outfit that constraints physical movement and creates an image that combines posture with painting. Vergaderpak was an experiment to combine painting with real life people.

By poring water into audience, the water became part of the suit and the overall play.

Vergaderbekers, 2019, 35 x 10 cm, mouth blown glasses

Abraham, his director Mariska and his Guest

Cambridge House, 2019, Croydon (UK)

03:00 min video: Documentation of an organized party for the figure Abraham. This party is inspired by Søren Kierkegaard’s Fear and Trembling. In this text Kierkegaard writes about the philosophical complexity and absurdity surrounding Abraham’s trial and his willingness to kill his son and biggest love Isaac. 

This experimental event asks questions of abstraction, ritual exchange, narrative function and belief. Guests are invited by their hostess (me) to swallow and chew on shapes/colours, while simultaneously being directed to physically move inside and outside their group structure.

Guests and director in Abraham, his director Mariska and his guests, 2019, Croydon, Cambridge House

Carpet in Abraham, his director Mariska and his guests, 2019, 400 x 250 cm, fabric paint on carpet tiles, Cambridge House, Croydon

Dying Adonis, 2019, cast from Adone morente, light filters, acrylic on canvas cut-out, Sculpture Court, Edinburgh

Breehornstraat 113, 2017, glazed factory tiles, light bulbs and plastered PVC tubes, Amsterdam, photo by Sander van Wettum