Process for Etchings
My work consists of classical multi-plate intaglio and aquatint etchings, and a number of monotype engravings. The authenticity, tradition and skill of using copper plates, soft/hard grounds, washes, the etching acid bath, a roller press and the best paper and etching ink are present in every single print.
I routinely make multiple plate etchings with up to 5 or 6 different copper plates for a single print. Few artists do or did that as ‘registration‘ can be frustrating without proper setup . Well known are Luigi Kasimir and Hans Figura, both from Hungary/Austria in the mid 20th century, well represented in major museums. My multi-plate etchings 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), laser robotics, CNC machines, 3D printers etc. as much as the traditional art and skills of etching, and I am constructing the bridge between them. Together we create the medium and space for my expression. How AI really fits in this development you can find on the ”Etching History” tab.
I do not use serigraphy nor photo-etching. Both have their merits but are not my style. None of the places in my works actually exist- with the exception of the cemeteries (2026). Those are real.
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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