You started of with creating your shadow sculptures in copper, then subsequently started using aluminium. Why the change?
‘That really wasn’t a conscious choice, it was as if the material offered itself to me. When I discovered that the word ‘minimum’ almost exclusively consisted of spirals, I went looking for a material which would allow me to easily fold this like shadow letters. I came across aluminium: an extremely flexible and light material, plus one which is available in various different levels of thickness.’
Words are still eventually only illusions, even in those aluminium works.
In my work I always opt for the detour of the shadow, the suggestion or the illusion. The work only exists by the grace of its shadow. Lights and shadow cancel each other out. Yet both elements are required in my work. Literature science professor Geert Lernout wrote in his work “The Book” that ‘speaking is so easy for people, as it gives them the opportunity to lie’. I’m not saying my work is deceitful, but I do present people with an illusion: I put them on the wrong track. A body of work which is about reality will undoubtedly also sail across the vast land of lies.’
How do you allow chaos or nonsense to enter your creations?
‘My sculptures are non-sensical without light. Light is absent in the shade, just like meaning is absent from the aluminium curlicues. One of my favourite creations is still on display in my studio: it’s a series of aluminium shadow letters, which together form the sentence ‘One looking at it, one looking through’. I purposely jumbled up all the letters, so the separate words are no longer recognisable. The work literally depicts nothing. The language has become chaos.’