COMMISSIONED ART

Perception becomes colour

For me, a work of art does not begin with colour. It begins with a perception.

In my mind, emotions, scents, sounds, light, temperatures and atmospheres are connected to colours. A cool morning feels different from the warmth of the evening sun. For me, the scent of an autumn day has a different spectrum of colour from fresh winter dew.

Spaces and people also leave their own visual impressions. My works emerge from these impressions.

My art is abstract, yet every element is considered. Colours, planes, layers, textures and metallic accents are placed with intention. Each decision follows the feeling from which the work emerged.

In Autumn in Mind, for example, metallic passages translate the cool, almost metallic air of an early autumn morning into material and colour. Other works emerge from more intense personal states, a connection with nature, movement, inner tension or a particular moment in my life. In this way, feelings that are often difficult to put into words become visible.

Translating people into colour

This way of perceiving also shapes my commissioned work. As I speak with someone, a distinct spectrum of colour gradually emerges for me. Personality, expression, stories, energy and the way a person speaks about things come together to form an image.

I therefore work with more than favourite colours or an existing colour scheme. I seek to understand what defines a person, and the colours, textures and tensions that this perception holds for me. This can lead to a work created from the encounter itself, rather than simply chosen for that person.

Spaces have their own atmosphere

The same is true of architecture and interiors. I love distinctive spaces and the effect they can have on people. Light, materials, textures, furniture, architecture, the view from a window, scents and even the people who use a space each day shape its atmosphere.

When creating an individual artwork, I consider this dimension too. It goes beyond matching the colours of a painting to a sofa, a rug or a wall. I am interested in how a space feels, and how it should feel in the future.

A hotel room may call for a different tension from a law office; a medical practice, a different sense of calm from a restaurant. A private living space, in turn, reveals something about the people who live there. The artwork becomes part of the space while retaining its own identity. It can bring calm, create tension, add warmth, respond to light or provide a visual focal point.

Abstraction with intention

My works do not need to be fully explained at first glance. You do not have to understand art to respond to it. Perhaps a metallic reflection catches your eye first. Later, a texture, a line or a subtle change in colour appears that you had not noticed before.

Light changes the work throughout the day, and perception changes with it. This is what interests me. I want to create works that are more than something to look at: works that continue to live with a space and its people.

Every colour has an origin. Every mark has an intention. And every work begins with perception.