Process for Etchings
My etchings are in essence pure, classical multi-plate intaglio and aquatint etchings. The authenticity of using copper plates, soft/hard grounds, washes, the etching acid bath, a roller press and the best paper and etching ink is very much present in every single print. You can see and feel the tradition and skill that has shaped this art form for centuries.
I routinely make multiple plate etchings with up to 5 or 6 different copper plates for a single print. I’m aware of only two other artists that frequently achieved that: Luigi Kasimir and Hans Figura, both from Hungary/Austria, both living in the mid 20th century, and both rightfully represented in major museums around the world such as the Metropolitan and the National Gallery of Art in New york . Not comparing the artistic quality of my etchings with theirs- they do share a certain appearance that is quickly recognized by the eye, even if you’d not know their common ground.
As an artist I am exploring the collaboration with AI (Artificial Intelligence) as much as the art and skills of etching, and I am forming the bridge between them. Neither can thrive without the other, and for us together- the AI, the artist, and the medium- the future is wide open. This is a new era! You can find the full history and evolution of etching- and why and how AI fits into that- on the ”World History” tab.
Process for Ceramics
I find purpose in using latest technology combined with the most primitive clay building and firing, to bring back to life prehistoric lifeforms that appeal to my instincts.
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start: exchanging ideas with a genAI on hypothetical prehistoric animals, their names, how they would behave in their ecosystem, visualisations etc. |
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designing using open-source 3D computer graphics software |
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testing with aid of 3D printing of parts, mock-ups, supports, demos |
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now comes the pottery phase: dig my local clay (Amer delta, NL), mix and test my own glazes. |
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building, glazing and firing those old life-forms using all traditional ceramist techniques. This phase is full of silly experiments, disappointments, and learning. But sometimes, the animal just comes to life and I’m no longer working with an object but with a being. |
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