A life-long project I 'm working on, are my 'memories'. Life is so short and I want to save who I am and how I felt in a constantly moving work of art. Naturally creating brings a great pleasure to me. Sometimes I feel like a magician. Every page is like a wave of the sea, a living organism from which we can see the respiration, the flux every moment on the beach. That’s also the case for me. I am a person who lives very close to nature. That's why I work spontaneously. I only think, analysis, afterwards, after the work is done. It's sometimes working like into a trance. I am convinced that this natural way of acting, like a child makes its drawings, is work that brings over energy to others. They feel a force, standing before the work. It radiates, and will be felt by other persons independent from to which culture or to which time they belong. We call that universal.
Perhaps because my life was very lonely I felt that necessity to fix feelings (expressed by the person in the middle of the work), dreams, moments and observations, all the things that constitute.
Like for Picasso: life is the only source for my work. A lot of my time (21st century) and surrounding are incorporated naturally.
As an evolution in time (I lived in Hamburg at that time) I looked more and more inside of me. The long winters and isolated way of living caused this. Perhaps sometimes works are a self-discussion. And the wisdom I discovered by observing is also the case for other human beings.
So far the totally natural part of the paintings.
But as a contemporary artist from the beginning I had to think about the language I was going to use to explain myself and to be as original as possible and not to repeat something that already existed . Parallel to the computer I developed my very personal pictograms and use them in a similar way. That is the alphabet I think belongs to our time. Egyptians used their hieroglyphs to tell about their lives.
I decided also to use a free form to be able to explain all the aspects of life. So the pictograms variant likes the leaves of a tree. They has a basic structure but can be a little bit different interpretations.
In the seventies I use to work in the Royal museum of Art in Antwerp to study the techniques of the masters that interest me by copying them : Ensor and Rubens (most of the time totally alone or with a Chinese artist of Beijing, who was copying also) where I discovered the strong techniques and colors of Ensor.(Without knowing the light of the sea, you cannot understand his colors) I did many copies after his work to learn this powerful way of working. And I still work like that today.
So far the basic elements of my work and what drive me.