Clouds, wad, long
Each plate is a work.
Each impression is a pull that will not repeat.
Thirty years of looking at one landscape: the wad behind the dike, grain and reed, a few boats at night, quince and medlar on the table. The true-to-life rendering is secondary to the image. The more often I go there, the more I see.
The edition side of printmaking has never interested me. Drypoint closes under the press and the lines have to be opened again after every pull; the ink is mixed by hand from stand oil and pigment. So each sheet is its own object, and the catalogue is one chronology rather than a shop.
The Wadden
Past the dike, onto the clay. Posts, water, a path that will be gone at the next tide.
Landscapes
Grain, reed, a farm reading as a cathedral on the horizon. Not a view — a way of standing in a place.
Still lifes
Quince, medlar, a feather on a stone. Light folding around a shrinking form.
A selection
All works
The techniques
Metal, grit, light. The techniques open their own rooms — the same images seen through what made them. Everything is printed and inked in the studio at Hornhuizen.