Haagse Kunstenaars

London, United Kingdom 1991
Based in The Hague, The Netherlands

Member and co-founder of Trixie The Hague

Montello Foundation, Nevada, USA, 2019

Winner of the 2018 Piket Prize

Window Lab, Trixie, The Hague, January 2021
Excavational Act in Five Parts, Duo with Thijs Ebbe Fokkens, Bureau Dégradé, The Hague, September 2019
Big Banal, Austin, Texas, May 2018
This was Hardcore, Brooklyn, NY, March 2018
Graduation Festival, Royal Academy of Art, The Hague, July 2017
Everything Must Go, Nest, The Hague, April 2017
Crystal Maze, The Hague, December 2016
Geschmack! Gemak, The Hague, June 2016
Exposed, De Electriciteitsfabriek, The Hague, June 2015

Sculpture, Royal Academy of Art, The Hague, 2015-2017
Textile and Fashion Design, Royal Academy of Art, The Hague, 2012 - 2015
Foundation Year, Gerrit Rietveld Academy, Amsterdam, 2011 - 2012
Fashion and Clothing, Kensington and Chelsea College, London, 2008-2010

Funding & Subsidies:
Stroom PRO Kunstprojecten grant for Big Banal, Austin, Texas, May 2018

featured on the poster for Exposed, 2015

Publication & Text:
Mister Motley 2020
Interview May 2019
Interview December 2018
Graduation Catalogue, 2017
Spectator of Time, does my garden chair feel pain? 2017
4 magazine, 2015
Made for made by, 2014
Photo Hessel Waalewijn
My work addresses a fascination for everyday situations - the ordinary dignity of the everyday person, a glimpse into their domestic sphere, their struggles in the class structure, their iconography, and their utter impermanence - and trivial attempts to change it. The works, though filthy in their nature, become somehow seductive and familiar. With a fondness for organic structures and textures, growth and decay, I ask what happens behind windows and doors in peaceful residential neighbourhoods? What lurks beneath the surface? How do domestic tragedies reveal themselves onto inanimate objects? Often referencing the body and its residues directly, these themes coalesce in a scene that proposes a slumbering decay and disconcerting absence. The works are in an ongoing state of decay; as such they allude to the unstoppable force of time as the only constant. The decomposing material points to the tension between the practice of traditional craft and its place in modern society. A fiercely traditionalist attitude on the one hand and ‘craft as boredom’ on the other; A beautiful way of wasting time.
Mijn werk komt voort uit een fascinatie voor alledaagse situaties- de iconografie van doodgewone personen, een kijkje in hun huiselijke sfeer, hun maatschappelijke worsteling, hun onherroepelijke vergankelijkheid- en hun futiele pogingen daar iets aan te veranderen.
De werken verleiden ondanks hun viesheid. Vanuit een affectie met organische structuren, groei en verval, vraag ik me af wat er gebeurt achter de ramen in die vredige woonwijken. Wat loert er onder het oppervlak? Hoe breng ik huiselijke tragedies tot leven in levenloze objecten? Gebruikmakend van menselijke residuen, komen deze thema’s samen in taferelen die een sluimerend verval en een verontrustende leegheid verbeelden.