some Drawings and their stories

"Try not to breathe"
In “Try not to breathe” we see a figure who is one with her surroundings. She is breathing the trees which are also her lungs. From her ear a plant grows. She is wearing tribal tattoos on her face, which gives a suggestion she is maybe from some ethnic tribe. ‘Try not to breathe’ is about fragility. Fragility of culture, nature and life in general. When you’ve got something that is so fragile and so important, you want to hold your breath, in a way of trying to hold on to it, keep it from breaking.
In “Try not to breathe” we see a figure who is one with her surroundings. She is breathing the trees which are also her lungs. From her ear a plant grows. She is wearing tribal tattoos on her face, which gives a suggestion she is maybe from some ethnic tribe. ‘Try not to breathe’ is about fragility. Fragility of culture, nature and life in general. When you’ve got something that is so fragile and so important, you want to hold your breath, in a way of trying to hold on to it, keep it from breaking.

New Mythologies, the Covarrubias series; Bestiality
'Bestiality' is mentioned by Covarrubias in the book a couple of times. As the theme human-animal has had my interest in art for a long time, the title "Bestiality" was something I had to work with. By choosing a swan as the subject of 'Bestiality', together with a girl, our thought immediately go to the Greek myth of 'Leda and the Swan' in which the God Zeus, in the form of a swan, seduces or rapes Leda. By making the swan very dark, almost velvety black, it looks stronger, more dominant and masculine. The face of the girl shows a sort of absence, not resisting, not giving in either. The girl's upper torso is placed next to her, leaving an empty space where her breasts and heart should be. In her empty womb we see a feather.
'Bestiality' is mentioned by Covarrubias in the book a couple of times. As the theme human-animal has had my interest in art for a long time, the title "Bestiality" was something I had to work with. By choosing a swan as the subject of 'Bestiality', together with a girl, our thought immediately go to the Greek myth of 'Leda and the Swan' in which the God Zeus, in the form of a swan, seduces or rapes Leda. By making the swan very dark, almost velvety black, it looks stronger, more dominant and masculine. The face of the girl shows a sort of absence, not resisting, not giving in either. The girl's upper torso is placed next to her, leaving an empty space where her breasts and heart should be. In her empty womb we see a feather.

'The fading memory of a forest cut from a single piece of wood (pink)'
The fading memory of a tropical forest that Singapore once was. The open spaces refer to what was lost in the development towards a city state, as well as gaps in our memory. Memories often have a colour.
The fading memory of a tropical forest that Singapore once was. The open spaces refer to what was lost in the development towards a city state, as well as gaps in our memory. Memories often have a colour.

‘Breathers'
Inspired by making breath visible, these breathers share their breath through the nose.
Inspired by making breath visible, these breathers share their breath through the nose.

‘Knight’
The drawing shows a knight who seems to guard himself against something. His body is transparent and shows leaves, seeds and roots, as if his skeleton and thus he himself consists of this material. In front of him we see a brightly coloured detail of a flower, an inoffensive weapon with which he seems to be able to defend himself, maybe only mentally. As if this flower, which can so easily break and bend, is able to give him some sort of power.
The drawing shows a knight who seems to guard himself against something. His body is transparent and shows leaves, seeds and roots, as if his skeleton and thus he himself consists of this material. In front of him we see a brightly coloured detail of a flower, an inoffensive weapon with which he seems to be able to defend himself, maybe only mentally. As if this flower, which can so easily break and bend, is able to give him some sort of power.

"Ophelia series; Love has no end"
'Love has no end' is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark. Ophelia is a fictional character in the tragedy, who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of work inspired by Ophelia’s part in the play.
“Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. "And what is death but a long sleep, a most welcome forgetfulness."
The charcoal covers Ophelia as a velvet blanket. A long sleep.
'Love has no end' is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark. Ophelia is a fictional character in the tragedy, who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of work inspired by Ophelia’s part in the play.
“Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. "And what is death but a long sleep, a most welcome forgetfulness."
The charcoal covers Ophelia as a velvet blanket. A long sleep.

'Ergens vandaan, ergens naartoe' (From somewhere, to somewhere)
This monoprint is part of a larger series of works made in collaboration with Dutch poet Joris Lenstra. Lenstra wrote a poem; “Mijn droom van jou” (My dream of you) and asked me to make drawings inspired by his words. The titles are literally taken from the poem. A little handmade book was published and an exhibition held as a result of the collaboration.
This monoprint is part of a larger series of works made in collaboration with Dutch poet Joris Lenstra. Lenstra wrote a poem; “Mijn droom van jou” (My dream of you) and asked me to make drawings inspired by his words. The titles are literally taken from the poem. A little handmade book was published and an exhibition held as a result of the collaboration.

Ophelia series; Act IV, scene VII
‘Act VI, Scene VII’ is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark". Ophelia is a fictional character in the tragedy who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of work inspired by Ophelia’s part in the play.
“Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. And what is death but a long sleep, a most welcome forgetfulness."
The running of the watercolour was a coincidence in making this print, and fits the image of Ophelia extremely well.
‘Act VI, Scene VII’ is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark". Ophelia is a fictional character in the tragedy who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of work inspired by Ophelia’s part in the play.
“Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. And what is death but a long sleep, a most welcome forgetfulness."
The running of the watercolour was a coincidence in making this print, and fits the image of Ophelia extremely well.

‘Hot Flash’
Hot Flash is an interpretation of Kees van Dongen’s “La Gitane” (the gypsy). The pink colours next to the face of the gypsy, give this piece some erotic connotations. In my version of the gypsy, she is young and blonde. As I looked at the original painting, I thought about how van Dongen must have been attracted to this woman. As the painting is now a hundred years old, both the woman and the painter are long gone. Hot flash, doesn’t just sound erotic, but refers to women’s menopause as well. Which is a subtle link to the ephemeral nature of beauty
Hot Flash is an interpretation of Kees van Dongen’s “La Gitane” (the gypsy). The pink colours next to the face of the gypsy, give this piece some erotic connotations. In my version of the gypsy, she is young and blonde. As I looked at the original painting, I thought about how van Dongen must have been attracted to this woman. As the painting is now a hundred years old, both the woman and the painter are long gone. Hot flash, doesn’t just sound erotic, but refers to women’s menopause as well. Which is a subtle link to the ephemeral nature of beauty

‘Abyss’
Abyss; a deep, immeasurable space, gulf, or cavity; vast chasm.
Abyss; anything profound, unfathomable, or infinite: the abyss of time.
Inspired by the deep ocean where nobody goes and all light fades. Where tiny bubbles of air float up to reach the surface.
Abyss; a deep, immeasurable space, gulf, or cavity; vast chasm.
Abyss; anything profound, unfathomable, or infinite: the abyss of time.
Inspired by the deep ocean where nobody goes and all light fades. Where tiny bubbles of air float up to reach the surface.

‘Goggles’
Inspired by a long time fascination with masks; a face upon a face. The goggles, which are also a mask, allow for breathing underwater.
Inspired by a long time fascination with masks; a face upon a face. The goggles, which are also a mask, allow for breathing underwater.

No title
A preliminary drawing to the much larger ‘Dressed in feathers’. A woman wearing wings as a rope and/or a headdress.
A preliminary drawing to the much larger ‘Dressed in feathers’. A woman wearing wings as a rope and/or a headdress.

‘Drifting’
A preliminary drawing to the much larger “Silver Sea”. In retrospect, these drawings were a start to what later brought me to my Ophelia series.
A preliminary drawing to the much larger “Silver Sea”. In retrospect, these drawings were a start to what later brought me to my Ophelia series.

‘Native’
The drawing questions the self and the other and tells that we are all related in some way. We are native to this earth. This drawing also refers to the fact that one thing comes out of another and life continues. The figure is alone, but the two transparent hands show he is actually not.
The drawing questions the self and the other and tells that we are all related in some way. We are native to this earth. This drawing also refers to the fact that one thing comes out of another and life continues. The figure is alone, but the two transparent hands show he is actually not.

‘Swimming Pool’
A piece in the breathing series and its relation to water. The head barely fits in the pool. Its serene face shows that this is where it wants to be. A confined space of weightlessness, coolness, bubbles and blue. Meditative.
A piece in the breathing series and its relation to water. The head barely fits in the pool. Its serene face shows that this is where it wants to be. A confined space of weightlessness, coolness, bubbles and blue. Meditative.

"Native"
The transparent figure floats in a world of her own, absorbed in her own thoughts. Through her body we can see whales swimming and plants taking root. The drawing questions the self and the other and tells that we are all related in some way. We are native to this earth.
The transparent figure floats in a world of her own, absorbed in her own thoughts. Through her body we can see whales swimming and plants taking root. The drawing questions the self and the other and tells that we are all related in some way. We are native to this earth.

‘All fins and tails and bubbles’
Taken from the lyrics of a song called “my sister” by the Tindersticks, which is about a blind girl who discovers her world is more beautiful than the world described to her by someone sitting next to her.
I used this text by the Tindersticks as my write up for my final exam at the Willem de Kooning Academy;
She went blind at the age of five. We'd stand at the bedroom window and she'd
get me to tell her what I saw. I'd describe the houses opposite, the little
patch of grass next to the path, the gate with its rotten hinges forever wedged
open that dad was always going to fix. She'd stand there quiet for a moment. I
thought she was trying to develop the images in her own head. Then she'd say:
I can see little twinkly stars,
like Christmas tree lights in faraway windows.
Rings of brightly coloured rocks
floating around orange and mustard planets.
I can see huge tiger striped fishes
chasing tiny blue and yellow dashes,
all tails and fins and bubbles.
I'd look at the grey house opposite, and close the curtains.
Taken from the lyrics of a song called “my sister” by the Tindersticks, which is about a blind girl who discovers her world is more beautiful than the world described to her by someone sitting next to her.
I used this text by the Tindersticks as my write up for my final exam at the Willem de Kooning Academy;
She went blind at the age of five. We'd stand at the bedroom window and she'd
get me to tell her what I saw. I'd describe the houses opposite, the little
patch of grass next to the path, the gate with its rotten hinges forever wedged
open that dad was always going to fix. She'd stand there quiet for a moment. I
thought she was trying to develop the images in her own head. Then she'd say:
I can see little twinkly stars,
like Christmas tree lights in faraway windows.
Rings of brightly coloured rocks
floating around orange and mustard planets.
I can see huge tiger striped fishes
chasing tiny blue and yellow dashes,
all tails and fins and bubbles.
I'd look at the grey house opposite, and close the curtains.

'Tedjakula's horsebath'
I am currently working on a series of large scale watercolour/charcoal drawings based on texts from Miguel Covarrubias's book 'Island of Bali'. The titles of the drawings are literally taken from the book, I interpreted the texts in my own way, making it a story of my own. The book, which is an anthropological study of the island of Bali in the 1930's, written by artist Covarrubias, has texts which inspire me, as I have a fascination for the Balinese/Indonesian culture since being an art student there in 1997-1998 and having lived in Bali for some years after that.
Tedjakula is a village in Bali where they used to have a bath especially for horses.
I am currently working on a series of large scale watercolour/charcoal drawings based on texts from Miguel Covarrubias's book 'Island of Bali'. The titles of the drawings are literally taken from the book, I interpreted the texts in my own way, making it a story of my own. The book, which is an anthropological study of the island of Bali in the 1930's, written by artist Covarrubias, has texts which inspire me, as I have a fascination for the Balinese/Indonesian culture since being an art student there in 1997-1998 and having lived in Bali for some years after that.
Tedjakula is a village in Bali where they used to have a bath especially for horses.

‘The long distance’
‘The long distance’ shows figures who are connected by their transparency, they literally overlap one another, hands trying to reach each other. The gaze in their eyes is distant, each absorbed in their own world. The different worlds are emphasized by the land and the sea. Together and apart.
‘The long distance’ shows figures who are connected by their transparency, they literally overlap one another, hands trying to reach each other. The gaze in their eyes is distant, each absorbed in their own world. The different worlds are emphasized by the land and the sea. Together and apart.

"Michelin"
Inspired by a story told to me while traveling in West Timor about a mentally ill man, who walks the streets with empty plastic bottles stuck under his clothes, which makes him look much bigger and more muscular than he actually is. Like the 'Michelin man.' The drawing shows a female figure who seems much stronger then she actually is, and all her strength is actually just air; captured in bottles. Nothing.
Inspired by a story told to me while traveling in West Timor about a mentally ill man, who walks the streets with empty plastic bottles stuck under his clothes, which makes him look much bigger and more muscular than he actually is. Like the 'Michelin man.' The drawing shows a female figure who seems much stronger then she actually is, and all her strength is actually just air; captured in bottles. Nothing.

"Lift you"
This drawing, which is made as a pair to "Michelin", shows a male figure who gets lifted by many small balloons. It refers to sometimes needing something or somebody to lift your spirits.
This drawing, which is made as a pair to "Michelin", shows a male figure who gets lifted by many small balloons. It refers to sometimes needing something or somebody to lift your spirits.

'The crown of the head I & II'
These portraits (pictured here is no.2) were made during my 6 months study in Hawaii, where I studied Pacific Art. The drawings are inspired by the sea voyages by great explorers like James Cook. They used to have artists on board of their travels, who would draw the newly discovered landscapes and people. Sir Joseph Banks was one of them. It is known that these artists would make the landscapes more like they knew them back home in England. They would draw the faces of the people in the newly discovered places often containing classical Western (European) features. This inspired me to make these two portraits of women with classical European features and a Fijian hairdo. The Ali'i, the chiefs of the Fijians, used to wear their hair like this. Dyed at the front, or with a spike sticking out like a unicorn. By combining two culturally influenced ideas of beauty in one image, this drawing creates a new kind of beauty which we don’t easily recognize and creates a certain extent of confusion.
These portraits (pictured here is no.2) were made during my 6 months study in Hawaii, where I studied Pacific Art. The drawings are inspired by the sea voyages by great explorers like James Cook. They used to have artists on board of their travels, who would draw the newly discovered landscapes and people. Sir Joseph Banks was one of them. It is known that these artists would make the landscapes more like they knew them back home in England. They would draw the faces of the people in the newly discovered places often containing classical Western (European) features. This inspired me to make these two portraits of women with classical European features and a Fijian hairdo. The Ali'i, the chiefs of the Fijians, used to wear their hair like this. Dyed at the front, or with a spike sticking out like a unicorn. By combining two culturally influenced ideas of beauty in one image, this drawing creates a new kind of beauty which we don’t easily recognize and creates a certain extent of confusion.

‘Weep Sheep’
Weep sheep seems to have come straight from a children’s story book. The tears of the sheep don’t make him look sad at all. The title is set in a rhyme, to emphasize this.
Weep sheep seems to have come straight from a children’s story book. The tears of the sheep don’t make him look sad at all. The title is set in a rhyme, to emphasize this.

Ophelia series; "Sweetness follows"
Sweetness follows is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark". Ophelia is a fictional character in the tragedy who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of works inspired by Ophelia’s part in the play.
‘Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. And what is death but a long sleep, a most welcome forgetfulness.’
The women’s legs and man's faces in the background are like memories Ophelia is floating on, or drowning in. Sweetness follows has an erotic connotation but also refers to death and what comes after it (a welcome forgetfulness).
Sweetness follows is part of a series of prints all inspired by Shakespeare's "The tragedy of Hamlet, prince of Denmark". Ophelia is a fictional character in the tragedy who drowns in a river because of a broken heart. A fascination of faces/bodies floating in water brought me to Ophelia. Mainly because she is so at ease in the water, becomes one with it. I made a series of works inspired by Ophelia’s part in the play.
‘Even in death Ophelia is figured as an erotic figure. Gertrude suggests that Ophelia's drowning was a passive death; like being a native creature in the water, she neglects to save herself from sinking. And what is death but a long sleep, a most welcome forgetfulness.’
The women’s legs and man's faces in the background are like memories Ophelia is floating on, or drowning in. Sweetness follows has an erotic connotation but also refers to death and what comes after it (a welcome forgetfulness).

'Sammy'
I gave this little portrait the title 'Sammy', the character in a Dutch song by Ramses Shaffy. 'Sammy is shy, Sammy is sad, he feels lonely and he is a fool because of that. He needs to look up, at the bright blue sky !' To me Sammy is a melancholic clown.
I gave this little portrait the title 'Sammy', the character in a Dutch song by Ramses Shaffy. 'Sammy is shy, Sammy is sad, he feels lonely and he is a fool because of that. He needs to look up, at the bright blue sky !' To me Sammy is a melancholic clown.

'We were not alone'
Relates to the togetherness of two people through all times and circumstances. Together is better than alone.
Relates to the togetherness of two people through all times and circumstances. Together is better than alone.

"Breathers"
‘Breathers’ shows two transparent figures. Their similarity suggests they are twins, maybe conjoined. Their soft facial expression and gaze shows them dreaming, absorbed in their own world. Floating in the air they breathe. Their breath slowly fills the space around them, symbolizing their oneness and the ethereal atmosphere of the work. Making otherwise invisible breath visible has been a recurrent subject in recent years. Emphasizing the importance of breath.
‘Breathers’ shows two transparent figures. Their similarity suggests they are twins, maybe conjoined. Their soft facial expression and gaze shows them dreaming, absorbed in their own world. Floating in the air they breathe. Their breath slowly fills the space around them, symbolizing their oneness and the ethereal atmosphere of the work. Making otherwise invisible breath visible has been a recurrent subject in recent years. Emphasizing the importance of breath.

"Treasures and curiosities; the red feather cloak"
"Treasures and curiosities; the yellow feather cloak of the O'o"
These large prints of female figures, covered in feathers, refer to ancient Polynesian Gods who were dressed in feathers. Hawaiian kings used to wear feather cloaks. I love the idea of literally dressing up an image of a body on paper. The birds on the shoulders refer to the feathers (the black bird in "the yellow feather cloak" is the O'o, a now extinct bird endemic to Hawaii and hunted to extinction for their yellow feathers used in cloaks and God images), but also refer to the kitsch tropical idea of having a colourful parrot on the shoulder. The title ‘Treasures and curiosities’ refers to voyaging explorers like captain James Cook, but also to the curiosity the viewer might feel toward the printed body.
"Treasures and curiosities; the yellow feather cloak of the O'o"
These large prints of female figures, covered in feathers, refer to ancient Polynesian Gods who were dressed in feathers. Hawaiian kings used to wear feather cloaks. I love the idea of literally dressing up an image of a body on paper. The birds on the shoulders refer to the feathers (the black bird in "the yellow feather cloak" is the O'o, a now extinct bird endemic to Hawaii and hunted to extinction for their yellow feathers used in cloaks and God images), but also refer to the kitsch tropical idea of having a colourful parrot on the shoulder. The title ‘Treasures and curiosities’ refers to voyaging explorers like captain James Cook, but also to the curiosity the viewer might feel toward the printed body.

'Eat me, drink me' (in blue)
This monoprint in which I mirrored the legs in an erotic posture, now brings to mind a table. Set to be eaten from. Inviting. The series was done in various colours; yellow, glittery red, red, pink and this one; blue.
This monoprint in which I mirrored the legs in an erotic posture, now brings to mind a table. Set to be eaten from. Inviting. The series was done in various colours; yellow, glittery red, red, pink and this one; blue.

‘Ik stond er bij' (I stood there)
This monoprint is a part of a larger series of works made in collaboration with Dutch poet Joris Lenstra. Lenstra wrote a poem; “Mijn droom van jou” (My dream of you) and asked me to make drawings inspired by his words. The titles are literally taken from the poem. A little handmade book was published and an exhibition held as a result of the collaboration
This monoprint is a part of a larger series of works made in collaboration with Dutch poet Joris Lenstra. Lenstra wrote a poem; “Mijn droom van jou” (My dream of you) and asked me to make drawings inspired by his words. The titles are literally taken from the poem. A little handmade book was published and an exhibition held as a result of the collaboration