Conceptual work
Video- and 3D installations, art als applied philosophy.
uit 2006 tot 2026
(klik op de afbeelding om het werk groter te bekijken)
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Between
2026Between presents an apparently coherent system that is structurally unable to operate. At the bottom of a transparent epoxy block lies a metal drain strainer. Above it, a bathtub plug is partially cast into the same mass, positioned as if resting or floating, yet effectively immobilised. The chain runs over the edge of the block and terminates in a very small resin cube in which only the fastening ring is sealed. All components are present. Their alignment suggests proper function. Yet no transmission occurs. The mechanism is not destroyed but minimally interrupted, precisely at the point where transfer should take place. The obstruction is small, almost banal, yet decisive. Transparency plays a double role: it promises clarity and control while fixing the very distance that prevents operation. What is visible remains inaccessible. What logically belongs together remains materially separated. Between materialises a state of permanent potential without effect — a system that appears rational, yet in which the possibility of action is structurally suspended.
Handle Without Care (Vorhandenheit)
2026The work consists of a vintage ironing tool whose handle has been cast in transparent epoxy resin. Through this intervention the object is physically disabled: the handle remains visible and appears graspable, yet it can no longer be held or used. The tool thereby loses its functional status and shifts from utilitarian object to contemplative artefact. The gesture refers to Martin Heidegger’s distinction between Zuhandenheit (ready-to-hand) and Vorhandenheit (present-at-hand). Originally absorbed in use and action, the iron is withdrawn from any practical relation. It no longer operates as an instrument but appears as a thing — isolated, visible, and unavailable. Placed on a 3D-printed pedestal and enclosed within a plexiglass vitrine, the object is institutionally reframed. The display reinforces its transformation from tool to artefact and emphasizes the passage from use to observation. The work examines how functionality, meaning, and truth shift once an object is removed from its context of action.
Pure Science
2026Pure Science centers on a cheap Newton’s cradle cast into a resin block. The casting introduced air bubbles, distortions, and chemical impurities, clouding the material and allowing the metal structure to oxidize. A device normally used to illustrate perfect causality and Newtonian determinism thus becomes partially unreadable and materially unstable. The cube sits inside a second-hand mirrored structure that endlessly multiplies its image. This assembly is placed on a neutral white pedestal and enclosed in a plexiglass box. These successive layers create distancing frames that both separate the viewer from the object and elevate its authority. The work draws on Thomas Kuhn’s view of scientific knowledge as shaped by paradigms that structure perception and interpretation. The resin’s defects act as visual analogues of Kuhnian anomalies—small irregularities that accumulate until a model loses its apparent clarity. Instead of staging a dramatic scientific revolution, the piece shows how a compromised model persists through reflection, preservation, and institutional display. The pedestal turns the damaged object into an authorized exhibit. What appears as unstable or failed knowledge is stabilized through museological framing, suggesting that scientific truth emerges not only from experiment and theory but also from (sociological) practices of presentation, validation, and collective recognition. Pure Science examines how systems of knowledge endure even as their material and conceptual foundations begin to erode.
Still Life (For Use)
2026Still Life (For Use) presents three identical glasses on a fake silver plate, accompanied by a simple water pitcher. The first glass lies untouched, fully ready for use. The second has its upper half cast in resin, rendering it entirely unusable. The third has its lower half cast: technically functional but awkward to handle. By partially immobilizing these objects, the work changes their ontological status. The untouched glass remains ready-to-hand (Zuhandenheit), a tool whose being is absorbed in use. The resin-coated glasses shift toward present-at-hand (Vorhandenheit), their materiality and being revealed precisely through obstruction. The contrast between ready, hindered, and awkwardly functional exposes the tension between potential and actual use, and how estrangement transforms ordinary objects into contemplative presences. The simple water pitcher points to intended use, emphasizing the gap between function and being, and inviting reflection on desire, habit, and our assumptions about the everyday.
Ort der Unschuld
2026Ort der Unschuld is a spatial installation with video that examines the pursuit of innocence and purity as a political, ideological, and aesthetic construct. Starting from a kitschy souvenir plate from Berchtesgaden — a site that functioned both as a tourist destination and as Adolf Hitler’s mountain retreat — the work traces how ideals of authenticity, nature, and moral renewal recur across different historical contexts. The installation connects Lebensreform ideology, Heidegger’s philosophy, Nazi imagery, and postwar mass tourism, revealing how the desire for purity often entails a rejection of modernity, plurality, and democratic complexity. In the video, vacation footage filmed by Eva Braun is juxtaposed with tourist home movies from the 1960s and 1970s, exposing striking similarities in gesture, atmosphere, and visual language. Rather than equating historical guilt, the work reveals how images of innocence function as moral anesthesia. Ort der Unschuld ultimately extends this logic to contemporary travel culture, where nature and tourism are marketed as sources of authenticity and moral escape. Innocence appears not as a state of being, but as a powerful narrative — one that continues to circulate between ideology, aesthetics, and consumption.
Not intended for use
2026This work presents a commercially produced lollipop encapsulated in epoxy resin, irreversibly suspending its intended function. The process arrests all chemical, sensory, and temporal transformations associated with consumption. Although the wooden stick protrudes from the resin and preserves the formal interface of use, handling and tasting are structurally impossible. The addition of a mirrored, kitsch display element introduces the visual language of retail and luxury presentation. The object is elevated, reflected, and multiplied, aligning it with mechanisms of commodification and display. At the same time, this logic collapses: the object is presented as consumable while being fundamentally unusable. In Heideggerian terms, the work stages a displacement from Zuhandenheit (readiness-to-hand) toward a paradoxical condition of excessive presentation. The lollipop is no longer ready-to-hand, nor simply present-at-hand, but continuously exhibited as an object of desire without access. Its being is revealed precisely through the suspension of use.
Training Apparatus
2026This work stages an act of ontological sabotage. A hand‑muscle training tool—normally defined by its Zuhandenheit, its readiness‑to‑hand—is immobilized in epoxy and placed inside a decorated glass vessel on a marble plinth. Once fixed in resin, the tool can no longer function; it shifts abruptly into Vorhandenheit, mere presence‑at‑hand. What was designed for repetitive self‑improvement becomes a frozen relic, stripped of agency yet elevated as if it were an object of devotion. The transparent pink epoxy layer, a synthetic intermediary, interrupts the hierarchy between marble and glass. This added stratum introduces a cosmetic, almost bodily ambiguity, intensifying the destabilization of the object’s original ontology. The work examines how everyday tools can be dislodged from their intended mode of being. By suspending effort inside a decorative frame, the piece exposes how easily purpose, value, and meaning can be reassigned—or sabotaged—through material intervention.
Closed Circuit
2026Closed Circuit presents a banal utilitarian object whose function has been permanently suspended. The bath plug and its attachment are cast in epoxy resin, rendering any practical operation impossible. What remains visible is the gesture of use: a chain that suggests handling, pulling, activation. Both ends of the system are immobilized. The apparent continuity offered by the chain conceals a closed loop in which action circulates without consequence. The work draws on Martin Heidegger’s distinction between Zuhandenheit (readiness-to-hand) and Vorhandenheit (presence-at-hand). An object that would normally withdraw into use is here forced into visibility precisely through the loss of its function. Stripped of its capacity to act, the object no longer operates within a world of practice, but appears as a thing isolated from its purpose. Rather than depicting obstruction, Closed Circuit stages the persistence of functional form after functionality has vanished. Agency survives only as appearance. The viewer is confronted with a system that still looks ready, while silently refusing all use.
Limited epiphany
2025Limited Epiphany combines a 3D-printed architectural fragment with a wall-mounted box containing a resin cast of a falling human figure (9/11). The staircase, doors, and platform suggest access, transition, and orientation, yet lead nowhere. The architectural logic is intact, but function is suspended. Strong directional lighting produces sharp shadows. These shadows are partially replaced by solid, 3D-printed black forms mounted directly on the wall. As a result, shadow becomes object, and illumination loses its explanatory role. Cause and effect are visually present, but no longer reliable. The boxed figure refers to an image widely embedded in collective visual memory, yet it is presented without narrative framing. It is neither illustrated nor dramatized, but treated as a sculptural residue within a closed system. While the title suggests spiritual ascent, echoing the symbolic structure of Jacob’s ladder, this expectation is undermined by the falling figure, rendering the work a cynical commentary on the human condition. The work addresses the limits of revelation in visual culture and the boundaries of understanding itself.
Promesse de bonheur
2025Promesse de bonheur is a sculptural composition consisting of a 3D-printed boat placed on a simulated water surface, resin blocks in blue tones, a resin cast containing artificial pubic hair, and a resin block embedding yellow plastic flowers. The elements are arranged in a balanced, geometric configuration that recalls the visual language of constructivist painting. All materials in the work are artificial, frozen, and inert. Water does not flow, the boat does not move, flowers do not wither, and desire is preserved rather than lived. The composition evokes summer as an image rather than an experience: a season reduced to signs, colors, and surfaces. Despite its formal clarity and apparent lightness, the work carries a subdued melancholy. It does not depict pleasure itself, but the memory of having once expected it. The title, borrowed from Stendhal, points toward happiness as anticipation, as projection into the future. Here, that promise has already passed. What remains is a residue: a still life of expectations absorbed by time. The inclusion of pubic hair introduces a subtle disturbance. Even intimacy is rendered artificial, archived and faintly perverse. The work thus reflects on how desire, memory, and happiness are increasingly experienced as simulations, carefully preserved yet emptied of risk and immediacy.
Meatlove
2025Meatlove examines how contemporary culture packages and immobilizes emotions, despite their intrinsic instability. The gold slogan echoes the language of luxury branding, but clashes with the slowly shifting organic core. The work presents love as something we attempt to freeze — in symbols, in objects, in rituals — even though it continuously transforms, decays, and slips beyond containment. The sculpture holds this tension in a play of gloss, irony, and quiet dissonance. Meatlove is a compact sculptural work that explores the boundary between affection, consumption, and the illusion of permanence. A heart-shaped mass of raw minced meat is suspended within a transparent resin block above a thin layer of vivid pink pigment. The sculpture rests on a white 3D-printed plinth bearing the phrase “Love Never Expires” in glossy gold lettering. While the object suggests preservation and timelessness, it contains a quiet contradiction: even within airtight resin, the meat undergoes a slow, internal process of decomposition. These subtle, long-term changes—barely visible yet inevitable—undermine the coded promise of “no expiry.” The work thus becomes a paradoxical object that simulates eternity while betraying its own fragile materiality.
Theologia Negativa
2025Theologia Negativa is a tripartite installation that stages absence not as lack, but as a structured condition of meaning. The work draws on the tradition of apophatic theology, in which the divine can only be approached through negation, while simultaneously engaging contemporary theories of simulacra, trace, causal inference and reproduction. The installation consists of three elements arranged horizontally. On the left, a 3D-printed white replica of a devotional frame appears entirely empty. It is a copy without an origin, a form awaiting meaning that never arrives. In the center, the original frame from which a crucifix has been removed still bears the visible imprint of what once occupied it. The object testifies to a prior presence that can no longer be accessed. On the right, a translucent resin block contains a 3D-printed copy of the removed crucifix, suspended and slightly offset. The cross survives only as an object severed from its function and context. Meaning does not return through replication, preservation, or trace. Instead, it disperses across copies, residues, and absences. By separating the sign, its imprint, and its reproduction, Theologia Negativa exposes how contemporary belief systems persist not through faith, but through repetition and inference.
Equity is not equality
2025Equity Is Not Equality uses the visual language of kitsch and erotica to poke fun at one of today’s most moralised social concepts. Two seemingly identical nipple pasties are preserved in a clear resin block, illuminated like museum specimens. At first sight, they form a playful, decorative pair—until the viewer notices that one tassel hangs slightly lower than the other. This subtle imbalance mimics the familiar infographic used in social justice debates, where children of different heights stand on boxes to illustrate the difference between equality and equity. By replacing the didactic cartoon with erotic, low-culture objects, the work exposes how serious political ideas are often reduced to simplified, almost cartoonish imagery. The polished display—frozen in resin, clinically lit—parodies the authoritative tone with which such concepts are presented in public discourse. Equity Is Not Equality questions whether our moral frameworks are genuinely understood, or merely consumed as ready-made, feel-good narratives. Through irony, it invites viewers to reflect on how ideology, activism, and aesthetics intertwine within contemporary culture.
Frozen Desire - What Appears Inevitable Is Only Habitual
2025This installation isolates and suspends an everyday scenario: a tongue poised to lick a lollipop. Encased separately in transparent resin, the lollipop and the silicone tongue are immobilized at the very moment where contact and fulfillment are anticipated but indefinitely postponed. By freezing this familiar micro-event, the installation makes visible the automatic associations and causal expectations the mind produces involuntarily. The viewer intuitively completes the scene, projecting taste, pleasure, and satisfaction, even though no material action can occur. Anticipation thus emerges as an autonomous phenomenon, detached from physical execution. The instruction “do not lick”, written on the pink plinth, functions simultaneously as prohibition, absurd reminder, and institutional command. It echoes parental discipline, museum etiquette, and moral regulation, reinforcing the tension between desire and restriction. The work stages desire not as excess or transgression, but as something regulated, displayed, and rendered unusable. Frozen Desires reflects on how contemporary experience increasingly consists of deferred gratification, mediated encounters, and desires preserved as images or objects rather than lived sensations. Desire remains present, glowing and precise, yet permanently out of reach.
Post hoc ergo propter hoc (ter)
2025Post Hoc Ergo Propter Hoc is a reflective installation on the human impulse to construct causality from coincidence. A dual-channel video loop shows two isolated events: on the left, a match suddenly ignites; on the right, a candle begins to burn moments later. The scale and brightness of both images are identical, yet they remain separated, suspended in their own visual fields. No flame ever touches the candle. There is only a temporal sequence — a mere juxtaposition in time. Still, the mind instinctively forges a causal link: the match must have lit the candle. Beneath the projection, a 3D-printed platform holds a match and a candle, cast in resin. Frozen in their material stillness, they cannot physically interact. Their petrified presence further destabilises the viewer’s expectation of cause and effect. By provoking and then undermining the assumption of causal necessity, the work echoes David Hume’s critique: that causation is not a property of the world, but a habit of the mind — an interpretative glue applied to successive perceptions. What appears as a chain of events may be nothing more than correlation, coincidence, or narrative desire. Post Hoc Ergo Propter Hoc invites us to reconsider the certainty with which we attribute meaning, agency, and explanation to the world. It challenges the foundation upon which much of our reasoning rests, exposing how fragile, constructed, and illusory the notion of causality can be.
L'embarras du choix
2025L’embarras du choix presents a series of bodily sculptural objects arranged in a shop‑ or showroom‑like environment. The installation contains pierced silicone nipples, tongues, and a wound, all cast in transparent—sometimes pink‑tinted—resin and displayed on white pedestals of varying scale. The installation investigates how desire, intimacy, and the body become fragmented into consumable units. The silicone nipples and tongues evoke affect and eroticism, yet casting and resin immobilize them, suspending sensation in a state of preservation. Piercings hint at individuality, but repetition dissolves it. The wound introduces a quiet disturbance, shifting the work from sensuality toward unease. Desire is neither affirmed nor denied; it is catalogued. Dried flowers add a gesture of depleted care. Traditionally tied to vitality, affection, or mourning, they appear here as styling elements—care reduced to ornament. They signal tenderness after its function has expired. The installation resonates with postmodern critiques of consumption and simulation, particularly those associated with Jean Baudrillard. Instead of spectacle, it offers a muted economic tableau in which the body is rendered as merchandise and choice becomes ritual.
Objet à consommer
2025Objet à consommer is a sculptural installation that stages intimacy according to the logic of retail display. A solar-powered rotating platform presents a silicone nipple with piercing, cast in transparent resin, endlessly turning atop a glass serving dish. Artificial flowers surround the object, accompanied by a lollipop — signs of care, seduction, and regressive desire. The work examines how, within contemporary sign economies, the body is no longer encountered as proximity or presence, but as a visual commodity. Through continuous rotation, the object performs its own display autonomously, detached from any acting subject. Desire is not fulfilled but endlessly circulated. Meaning is not revealed, but proliferated. The hyper-aestheticized presentation refers to the aggressive surplus of symbols and affects characteristic of consumer culture, where even critique must adopt the form of merchandise. The flowers and candy do not function as decoration but as excessive signs, generating an overabundance of meaning that does not conceal emptiness but exposes it. Objet à consommer confronts the viewer with a mechanical form of seduction in which intimacy, care, and affect are severed from human relations and reduced to circulating signs without origin or resolution.
The silent spectacle of the self
2025This work presents a transparent drinking glass fully embedded in a solid block of epoxy resin. Completely sealed and immobilised, the glass becomes inaccessible and stripped of all practical function. It can no longer hold liquid, serve a purpose, or mediate any human action. It stands as an object existing in isolation, withdrawn from the realm of use. In this state of preserved stillness and inaccessibility, the object touches upon what Immanuel Kant calls the Ding an sich: the thing as it exists independently of human perception, interpretation, or instrumentalisation. By removing all utility, the viewer is compelled to encounter the object not as a tool but as an autonomous entity with an unknowable inner reality. The resin acts as a paradoxical medium: it reveals while it conceals. The glass remains visible, yet radically out of reach. The work foregrounds the tension between what we believe we perceive and what actually presents itself — between phenomenon and thing-in-itself. The glass becomes a silent confrontation with our impulse to project meaning, purpose, or categorisation onto the world. Our cognition of the world is nothing more than a game of mirrors.
Outdoor Bred
2025Outdoor Bred consists of a small sculpture made from minced meat, shaped with a cookie cutter into the silhouette of a pig and permanently encapsulated within a clear resin block. The object rests on a patch of artificial grass, placed atop a tall, minimal white pedestal. At the bottom of the pedestal, printed in small and understated letters, appears the term outdoor bred. The installation stages a quiet tension between authenticity and simulation. The phrase “outdoor bred” — borrowed from agricultural marketing to imply more ethical, outdoor-based husbandry — contrasts sharply with the synthetic grass and the preserved, lifeless meat. The work gently destabilises the rhetoric of “naturalness” so frequently deployed in food branding and ethical consumption. By fixing the meat in resin, the piece grants an illusion of permanence to a fundamentally perishable substance. The disproportion between the monumentality of the pedestal and the fragile scale of the object creates a dissonance between significance and banality. Outdoor Bred becomes a critique of the ways in which terms, images, and materials construct the appearance of purity or ethics, even when the underlying reality remains unresolved.
Défense de s'asseoir
2025A patch of artificial grass, inviting and familiar, is cast in resin and pierced by metal spikes. What promises comfort and accessibility is instantly withdrawn, transformed into a surface of exclusion. The inscription “Défense de s’asseoir” makes explicit what the object already declares. Normally, prohibition operates in a single register: either through text (law, language) or through material impediment (spikes, physical force). Here, both are imposed simultaneously, a double prohibition that renders the interdiction excessive and even absurd. The work refers to hostile architecture: urban strategies that prevent rest, gathering, or shelter, often targeting the most vulnerable. In this miniature, it becomes clear that control in public space is never neutral: hospitality is evoked only to be withdrawn, freedom promised only to be denied.
Das Nichts nichtet
2025This installation stages a stark philosophical scene: a solitary black chair stands on a white platform, facing a glowing lightbox bearing the phrase “DAS NICHTS NICHTET”. Along the edge of the platform, the French inscription “Cours de métaphysique avancée” (Advanced Metaphysics Course) introduces a subtle irony. The title is drawn from Martin Heidegger’s seminal 1929 lecture What is Metaphysics?, in which he asserts that the Nothing (das Nichts) is not mere absence, but something that “nihilates” — it nothings. In Heidegger’s thought, the Nothing plays a crucial ontological role: it discloses Being by confronting Dasein with the possibility of meaninglessness. The black chair represents the absent spectator or student, evoking an atmosphere of existential quietude: an advanced metaphysics course without lecturer, without content — only the confrontation with absence, with light, with the word. Positioned between philosophical diagram and silent theater, the work invites reflection on the active role of Nothingness in our experience of Being, and on the strange intimacy between language, void, and presence.
A picture held us captive. (Philosophical Investigations, §115)
2025This 3D printed artwork explores the tension between language, meaning, and reality through an internal paradox. The billboard firmly states: "There is no left. There is no right."—a claim that seems to suggest that the concepts of ‘left’ and ‘right’ are not absolute or objective but depend on context, language use, and perspective. Yet, the work immediately undermines this assertion by placing the words "Left" and "Right" on the platform beneath the sign, presenting these concepts as fixed points of reference. This tension closely aligns with Ludwig Wittgenstein’s ideas on language and meaning. In his Philosophical Investigations, he argues that the meaning of a word arises from its use within a language game. ‘Left’ and ‘right’ do not possess an intrinsic, universal essence; rather, they acquire meaning through how we apply them. The billboard appears to embrace this idea by denying the existence of ‘left’ and ‘right’ as absolute categories. Yet at the same time, the artwork reveals how difficult it is to think outside such concepts—the words on the platform still force us into a binary orientation. This creates a paradox: if left and right do not exist, why are they named? In this way, the artwork exposes how language both enables and constrains our thinking.
Caress for instant gratification bis
2025
Epoxy resin with embedded artificial pubic hair, wooden base with integrated LED lighting, black plinth with inscription “Caress for instant gratification.”
The lighting transforms the encapsulated hair mass into a relic — a bodily trace suspended between sanctity and banality. The resin’s glow both seduces and distances: intimacy becomes sublime, eroticism becomes sterile.
The work reflects on our longing to preserve closeness, to hold on to warmth in a cold world. Yet the touch never arrives. The title refers ironically to the digital and emotional culture of instant satisfaction, where intimacy is reduced to image, object, and memory.
L'impact du signe
2025This 3D-printed installation questions whether the 9/11 attacks can still be seen as real events, or only as hyperreal images etched into collective memory. Inspired by Jean Baudrillard, it explores how the airplane and towers have become signs—icons in a media spectacle that transcends reality. The physical attachment of the plane to the tower emphasizes that it was not the object itself that struck, but its symbolic force. As Baudrillard wrote: “Reality itself has surpassed itself in its own simulacrum.” The installation reflects on how events are shaped, distorted, and fixed within image, media, and memory. The statue of the Falling Man adds a deeply human and existential dimension to the installation. The choice of the World Trade Center was not just strategic, but symbolic: a monument of Western economic power and globalization. The attack was a spectacle, aimed at disrupting the symbolic order. Its violence was designed to generate meaning—to create an iconic image that would flood the world. In this sense, the event took place primarily in the realm of representation, not material reality.
Physis
2025Physis, derived from phyō ("to grow"), in Pre-Socratic philosophy referred to an inner process of becoming and unfolding. Nature was not a static given but a dynamic force with its own drive for development. This contrasts with the modern scientific view, which sees nature as a mechanical system, explainable through laws and causality. The ancient concept of physis is revived in ecological thinking, where nature is not merely an object but a network of interactions and emergent processes. This installation confronts the viewer with the boundary between life and lifelessness, growth and stillness. By placing the coral on a platform and introducing minimal movement through an AI-generated video, the viewer is invited to reflect on how we understand and perceive nature. Here, physis is not conceived as a collection of objects but as a process—a continuous dynamic of formation, transformation, and transience. The installation encourages the viewer to break away from the modern scientific perspective, in which nature is primarily understood in terms of lifeless matter and fixed laws. By giving the coral a subtle, almost imperceptible motion, we are challenged to look and experience anew - to unlearn and unsee what we thought we understood.
Politique Indigène
2025Politique Indigène reconstructs Léon Rom’s notorious colonial residence and the yard where a gallows once stood, using 3D printing techniques. Rom, infamous for his brutality in the Congo Free State, decorated his home with skulls, becoming a symbol of the systemic oppression and atrocities of Belgian colonialism. The diorama's are presented together with a video that alternates between historical footage and AI-generated scenes, presenting an idealized, fictionalized version of colonization. The interactions between colonizers and locals appear peaceful yet remain deeply paternalistic and disruptive. The video reflects the politique indigène, a colonial policy that gave the illusion of autonomy for the indigenous population while maintaining control through coercion. It reveals how this policy concealed the oppression at the heart of Belgian colonialism. By blending historical footage with AI-generated content, Politique Indigène invites viewers to question how colonial history is remembered and presented. The work critiques how histories are reconstructed and how personal and geopolitical narratives shape our understanding of the past. It offers a critical visualization of the Belgian colonial project and encourages reflection on its enduring impact.
The ontology of truth 2
2025In The Ontology of Truth, the artist presents a white 3D printed cube embedded with six hyperrealistic nipples in three different skin tones. Each tone appears twice, always on opposing sides. Each nipple is also uniquely pierced. The cube is tilted on its pedestal, denying any neutral orientation and forcing the viewer into a specific perspective. The work playfully and ironically references Heidegger’s notion of aletheia — truth as both disclosure and concealment. At any given moment, only three sides of a cube can be seen; to reveal one aspect is necessarily to obscure another. The piece thus suggests that truth is not a fixed entity but a situation — a perspectival condition, contingent on location, position, and viewer. From every angle, three distinct skin tones are visible, but due to the unique piercings, no two perspectives are the same. The bodies in the work — vulnerable, intimate, adorned, particular — return truth to the tactile, the corporeal, the human. Each piercing, each contrast of color, forms a micro-narrative. Together, they underscore the idea that what we see is always only a fragment of what is.
Qualitas Occultae
2025Qualitas Occultae is an interactive light-based installation that explores the invisible forces shaping our world, inspired by Newton’s concept of gravity and a childhood fascination with remote activation. The work features a small “flip-flap” figure under a glass dome, powered by a photovoltaic element. When the space is empty, the figure remains still. However, a motion sensor triggers a strong directional light as visitors enter, illuminating the dome and causing the figure to move, seemingly animated by an unseen force. This installation reflects on the mystery of action at a distance, a concept central to Newton’s understanding of nature but rejected by Leibniz, who dismissed it as an occult property. The piece also evokes the wonder of childhood discovery, like the marvel of solar panels and remote controls—technologies that enable objects to move without direct contact. By allowing viewers to witness a simple yet magical transformation, Action at a Distance seeks to reignite awe at the hidden forces governing our reality, much like Newton’s contemporaries once questioned how gravity could act across empty space. In an age where technology has made the extraordinary routine, this work encourages us to pause and rediscover the mysteries that quietly shape our world. Balancing scientific explanation with a sense of magic in natural phenomena, the installation invites us to reconnect with the marvel of the unseen.
The Anatomy of Absent Causes
2025The Anatomy of Absent Causes is an installation that examines our innate tendency to construct causal narratives from fragmentary observations. Even when no action or event is shown, we instinctively fill the void with a story that imposes order and meaning. This work makes that cognitive reflex both visible and tangible. On a white plinth, with the title embossed along the front, sit two transparent cast-resin blocks. One contains a cracked eggshell, positioned with the precision of a scientific specimen. The other encases a metal spoon, equally stripped of context and functionality. Through this act of preservation, the objects are presented as archival evidence, removed from any timeline or event that could connect them. By freezing the objects in time, the installation intensifies its conceptual aim: the viewer encounters only the aftermath, never the cause. The mind seizes this absence and constructs a plausible narrative — a process that the Scottish philosopher David Hume described as a habit of the mind rather than a property of the world. The work exposes this automatic projection: we interpret, connect, and reconstruct even when factual linkage is missing. The installation invites a slower gaze and encourages self-awareness: what do we truly perceive, and what do we mentally supply?
All the things you cannot see
2024The video installation centers on an interview with a young woman discussing anxiety, disorientation, loss of control, and psychological splitting. She describes fears of being observed and judged. Using brief found footage segments, the installation visualizes her condition, reflecting universal fears and uncertainties. By juxtaposing visually analogous fragments, the work highlights the metaphorical nature of thought. Scientists appear as symbols of power in psychology, exposing the illusion of objectivity and its role in creating hierarchical, dehumanizing dynamics. The metaphor of fermentation prompts reflection on the limits of knowledge, the ontology of the unobservable, and how conceptual frameworks shape understanding and power structures. Next to the video stands a small figurine of the woman who plays the central role. Her portrait was scanned using AI, and the sculpture was realized in 3D-printed PLA, combined with wax. It is placed on a pedestal into which an LED light has been integrated.
Tête-de-Nègre/White Innocence
2022The video installation consists of three sequences of images, based on found footage from Belgium's colonial history and American visual culture. The images make visible the binary, moral-theoretical oppositions that constitute Western thought (e.g., civilized-savage, uninhibited-disciplined, white-black, rational-emotional). In this way, the work seeks to reveal the associative fields and cultural archives (a term from Edward Said) that underpin the dominant Western self-image. The images construct a semi-imaginary history, a "theory-fiction" that indirectly and obliquely highlights certain aspects of historical and social reality. However, attempting to interpret the images literally, factually, or historically is futile. Above all, the work aims to evoke a sense of estrangement and alienation in the viewer, potentially prompting reflection on the racial ideologies and stereotypes that, often unconsciously, shape our thinking.
Post hoc ergo propter hoc (bis)
2013Double projection. The two images are projected onto a pillar-shaped structure, positioned at a 90-degree angle to each other. By temporally and spatially unraveling an iconic image—the WTC attack—the work questions the relationship between correlation and causality. As David Hume already observed, we perceive only the succession of events, not the causal connection itself.
Tussen hangen en vallen
2006Single channel video. 'Tussen hangen en vallen' is an old fishermen’s saying that refers to the moment just before sunset. This state of uncertainty serves as a metaphor for the condition humaine: for an existence in suspension.
Différance
2006Double projections on random surfaces, intermittently synchronized, create moments of fleeting harmony. This interplay evokes Derrida’s différance, the continual shifting between sameness and difference through which meaning emerges. Simultaneously, it reflects Kierkegaard’s infinite interestedness—the existential striving to reconcile the finite and the infinite, the temporal and the eternal. In both cases, tension and oscillation are not problems to be solved but processes to be inhabited: the video enacts the rhythm of meaning and existence in flux, revealing harmony that arises only in the movement between opposites.
Post hoc ergo propter hoc
2006Double projection, in which a visual and mental association is evoked that questions the relationship between correlation and causation. By detaching the time dimension from, on the one hand, the hand releasing the ball and, on the other, the ball falling into the water, the mechanism of causal interpretation is called into question. It reveals that causality is, first and foremost, rooted in a mental reflex.