I think my work is best characterised as Arts and Crafts. Most of the times metal is the basis from where I start to work, but as a matter of facts it’s not the finish. The material is in the end just the messenger which has its unique properties I grateful make use of. As thus I am in a constant search for the limits of my skills, searching for and researching new technologies.
Lately I also make use of rough wood; pieces of root stumps, tree trunks, and tree branches. Important is that the form and colour of the wood objects inspire me to make a creation around it.
Oftentimes my works gives the impression to be a die cast or in a other sense to be massive. This is a well prepared illusion; most of it is made out of plate material which is hammered into a form and then welded. Afterwards the welds have been grinded smoothly. In this way it gives the impression of being made out of one piece. By brazing with a silver-copper alloy I manage to make a good connection between inox and brass.
The gems I putted into my work are not glued as so many of the silversmiths do now adays, but are being put by hammering the material. A work which has not be taken to lightly in materials such as steel and inox.
Depending on the nature of my work I abundantly make use of colour. In the works “The Carnivorous Strawberry” and “Sleeping Beauty” for instance I made use of acrylic lacquer. The often heard comment to this; that in this way the huge amount of labour I putted into this work is not visible anymore, is not interesting in my opinion. In the end of the day my work is not about the amount of labour I putted into it, but about the message I wish to spread.
Further on there is also the possibility of sandblasting steel and afterwards varnish the material. This makes the surface dark grey and granular with a very peculiar radiation. “The singular kühckeltube” gives a good impression of the results of this technique.
A almost forgotten technique is patinating the material. This can be achieved by first applying linseed oil on rusty steel. Next the oil is heated by means of a gas torch until it starts coal and becomes black and sticky, as thus giving it a antique patina. Unfortunately this technique is not very weather proof.
I can be contacted for more information on all possible and impossible techniques on the above mentioned email address.