Artist Statement
One question drives my work: why do things exist as they do, and how does their effect reach us before we grasp what they are?
I don’t make works that represent invisible forces; I build installations that run on them. I move energy, sound, motion, and buoyancy from something referred to into something lived, so that the physical phenomenon is not a metaphor for the idea but the idea in operation an effect that reaches the body before it reaches the mind.
I borrow the tools of my engineering circuits, motors, systems of motion not merely as means of execution, but as primary artistic materials. By the same logic, I take up local knowledge not to document it, but to reactivate it; what concerns me is summoning what lies latent, not explaining it.
My works offer no answers. They reframe the question before each viewer, placing them in that fragile moment where feeling precedes understanding where the viewer is not an observer, but part of the experience.
Inanimate Presence
I am interested in how inanimate systems can appear psychologically or emotionally alive through movement, tension, light, sound, and perception. My work explores the unstable boundary between material presence and intangible experience - where objects begin to behave less like static forms and more like living conditions within space. Through kinetic, atmospheric, and sensory installations, I investigate how invisible forces shape awareness, emotion, and human interaction. Rather than creating fixed objects, I construct environments that continuously shift through movement, time, and the presence of the viewer. These works do not attempt to imitate life directly but instead examine how perception itself can transform matter into something seemingly animate, unstable, or psychologically active.
Medium
My work combines kinetic systems, sound, light, airflow, reflection, and responsive environments to construct immersive perceptual experiences. Working across sculpture, atmospheric installation, and spatial intervention, I use movement as a condition of instability rather than spectacle - allowing physical systems to influence emotion, awareness, and sensory perception. I often integrate mechanical structures, custom-built systems, industrial materials, and environmental phenomena into installations that continuously shift through time, interaction, and presence. Rather than focusing on a single material or discipline, my practice moves fluidly between art, engineering, atmosphere, and perceptual experience.
Contact to Gebaan
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