Collector of intemporality

The idiom of the arts is not language itself, but to evoke our imagination and appeal to individuals and audiences by sensory experiences.

As part of my artistic practice – as maker, mediator and curator – I initiate projects that shift the perception of value systems, which we often take for granted. I myself shifted from questioning in retrospective my interpretations of human history to including non-human history of nature. It all started with putting a swing in an opened window frame to question the role of art (institutions) in the public domain. A surreal and efemeral public intervention at exhibition space TENT, Witte de Withstraat Rotterdam (NL, 2001).

Explore, collect, share & learn

Explore, collect, share & learn is a work method I developed for artistic environmental fieldwork to inclusively engage people and other natural entities in search for a deeper relational understanding. Keyword is fieldwork, engagement by actually being outside in the field, outside your comfort zone, using all senses to learn, express and address. Curiosity driven. Start with an open mind and target at finding the right questions to pose.

Innovatory Heritage

Innovatory Heritage is an inclusive method I invented of storytelling through arts, design and science for broader audiences with new visual narratives of the hybrid relationship of humanity with (manmade) nature through time and space. Within this concept heritage itself is the actor of understanding and learning processes of transitions and innovations, including the causes and consequenses in past, present and future. As the world around us is changing, this new approach changes our perception of protective-exclusive heritage into dynamic-inclusive heritage: intended to change!

Zandgast

We live in a globalised world. Shaped through time by exchange. Exchange of sediments and debris, of species – like people, plants and animals – and of cultures and knowledge. Processes that are affected by humanity.

The Dutch are masters in disguising a cultural landscape as a natural one. We tend to design, construct, reconstruct and deconstruct nature to fit our needs.

Badgast

With the prospect of climate change, rising sea level, dis-balance of salt and fresh water, shifting ecologies and geopolitical strategies, migrations of people and species, pressures of tourism and energy supplies we face major coastal transitions worldwide. Transitions that may lead to conflicts, estrangements, loss of heritage and loss of more informal cultural uses of public coastal space. Understanding these processes involves disclosing new visual narratives, as the vital links for unlocking knowledge and insights of the perception of history (where we come from) and the challenges we face (where we are going).

Arts and science can express the spatial and social and ecological qualities – as well as the problems – of our coastal areas, and make them engagingly accessible to the public. These works can transform a destination normally marked by consumption and recreation into a platform for critical communication and serious reflection. This timely reflection on spatial transition processes may act as a strong catalyst in generating public and professional discussions and connect contemporary research and new works to historic and future works and coastal transitions.

The Chamber of Marvels

Deconstruct institutional museology in The Chamber of Marvels of Zoetermeer.

Museum Oostwijk

Transform a residential area into Museum Oostwijk.