Welcome to my website. You will find examples of artworks, explanations of the methods which I elaborated, and information on their philosophical and cultural context. I classified my art in four categories (see the menu to your left). The first category consists of sculptures. These are created according to a method which relates them to so-called quasicrystals, and with the higher dimensional geometry that is used to describe such structures. The second category includes photographs of the interior of the sculptures. Because I covered this interior with intricate tilings of mirrors, these photographs reorganize the visual environment around a sculpture in fragments corresponding to different levels of iteration in the mirror process. The third category concerns graphical work in which non-Euclidean, higher-dimensional geometries play a role. Finally, the fourth one consists of works based on fractal techniques. I created these images about fifteen years ago, but remade them with higher resolution and with colorization techniques that I have  devised recently. The pdf-texts with explanation are in the menu under the button ‘Explanation of Artwork’. 

Because higher dimensional geometry is one of the main themes in my work, the box below briefly situates my art from this perspective.

  

Since Linda Henderson’s classical study of 1983, it has been well documented that higher dimensions played a major role in art during the first half of the twentieth century. For instance, during his Paris time, Picasso became familiar with the basics of four dimensional geometry through the work of Jouffret. Thanks to these concepts he learned how to integrate different perspectives into a single image. This way, higher dimensions got into the core of the cubist movement. Also for different other styles, like surrealism or futurism, the impact of the idea of higher dimensions has been demonstrated. In recent decennia, these concepts found their way to art along new paths, partly due to insights in the domain of quasicrystals. This are nonperiodic structures filling the plane, or three-dimensional space, by combination of a limited number of basic cells. The tilings which result can be described as projections of  parts of grids of five- or six- dimensional hypercubes, depending on whether one considers the plane or the three-dimensional case. Tony Robbin, for instance, is known for his artwork based on quasi-crystals. A related perspective can be found in part of Antony Gormley’s work. Several of his sculptures are based on projections of higher dimensional structures, which he creates in cooperation with the mathematician Roger Penrose. In its two-dimensional version, this perspective has a remarkable predecessor in medieval Islamic art. In its three-dimensional variation, there are antecedents in mathematically based polyhedral art. For instance, Kepler’s triacontahedron can be embedded in a quasicrystal. It is remarkable that the golden section plays a major role in this approach, so that it integrates a classical concept of beauty. For instance, all faces of a spatial quasicrystal are formed by the golden rhombus, in which the proportion of the longest to the shortest diagonal is the golden section. Like Robert Smithson in part his sculptural work, I integrate mirrors into my sculptures, but in a more sophisticated manner. My point of departure are expressive sculptures in which all faces are formed by the golden rhombus, and which have a close relation with quasicrystals. My sculptures are open structures, the interior of which is tiled completely by mirrors. Because the mirrors reflect one another, this results in an almost endless sequence of mirroring. A variation of this phenomenon is present in videofeedback-art, but in my artwork it takes place without intervening electronic devices. In my photographical work, I use my sculptures as mirror-lenses onto which I zoom in. By this process, intricate compositions in cubistic style result, in which the play of light is a main thread. The mirror process implicates an intermingling of subject and object; the camera as well as parts of the artist appear from different perspectives in the composition. In my graphical work, the themes of higher dimensions and the golden section also play a role. In the graphical work that integrates photography with higher dimensional geometry, I deform the plane of a picture in higher dimensions, after which I project it back on the plane of the picture. In this way, I associate new color values with points. As a result, expressive compositions appear in which different layers of meaning are integrated. The fractal work you find on this site is based on iterated divisions of the golden rectangle.