What has always fascinated me about sculptures is that a form can still suggest movement in a sculpture.

Sculpting in stone is always a great challenge for me, because you are working in material that is millions of years old and has acquired its structure, colour and veining through unimaginable forces of nature. I therefore find it fascinating, out of respect for this process, to leave part of the stone unprocessed wherever possible and, as contrast, to show the raw, original material.

A large number of my sculptures have a marker as a point of view, this makes it very easy to turn the sculpture on its pedestal. The purpose of this is to thus give people the chance to see the sculpture from a fixed viewpoint, from a different side, so that one never gets bored. After all, an abstract sculpture has no clear front and back, it has to show something different from every point of view.

My sculptures are characterised by contrasts.

For instance, by combining round flowing forms with clean sharp lines, or rough stone versus highly polished.

Sometimes I look for contrast by interaction of two forms, where these forms differ yet are complementary, one cannot (stand) without the other.

In my “Ode to Women” series, the contrast is formed by the different materials, Carrara marble versus bronze and by the design. The bronze part of the sculptures is a cast of a real body and is therefore very realistic and contrasts with the abstracted body in marble.

I also draw inspiration in my design from natural earthly forms, which suggest, for example, that the stone has been eroded by water, or shaped by wind.

For my series Unbudging, Sprouting, Unbuttering, I drew inspiration from forms as they occur in nature; a decomposing fruit, or a budding flower. I try to make a hard and cold material like stone seem soft and caressable.

In my series the Three Graces and Aphrodite executed in Carrara Marble RVS and Arduin, I was inspired by sculptures from ancient Greece. The female figures are carried, protected or secured by plant-like forms

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Exhibited at many galleries and sculpture gardens in the Netherlands, Germany and Belgium since 2000. And the last 10 years in our own sculpture garden.

The Black Hole in Oostvoorne

Felix van Breughel te Nieuwengein

Hans Leutscher Vrije Kunst Academie Rotterdam

Peter Rosenzweig en Mauro Spadacini Campo dell’Altissimo

Pietasante Italië