2019 →

a wonderful catch

dipping in the ocean

2016 – 2019
When you look at a landscape ………..
you change it, when you photograph it you have changed it.

16 landscapes from Norway, 3 layer carbon prints: 2 layers with a bone black pigment, 1 layer with sumi ink. 12×20 inch. Edition of 3 + 2 a.p.


2013 – 2016
A Forest Reconstructed

photographs on forestry in Finland, Sweden, France and Belgium
The landscapes I have photographed over the past years cannot be unambiguously regarded as natural or cultural landscapes. In the same way, it is not clear in this work what the most appropriate representation of reality is: a drawing, a negative or a print. Although the photographic image has remained my starting point in this work, I question the self-evident connection with the natural reality that it has taken on in our consciousness.

One: a blank sheet. 26 white prints in three layers of titanium white on single weight baryta paper. 1 + 1 artist proof.

Two: a forest on a drawing table. A series ‘photographic’ drawings of 54 negatives, complemented by notes of measurements taken in the field. This series is presented as a hand-drawn sketchbook in an edition of 10. Each book contains a ‘multi-layered’ color carbon print of one of the negatives in a 28 x 48 cm format. And 6 ‘multi-layered’ color carbon prints without a book. Every book and every print is unique.

Three: a collection in time and in space is the last part of the project. In this part trees from different negatives are brought together as a collection, based on the concepts of time and space. Carbon print from a digital negative, 23×57 cm. Edition 3 + 2 A.P.

2006 – 2011
Cette montagne c’est moi

68 photographs from slag heaps from the coal mining industry.


Cette montagne c’est moi is about me. Translated literally, it means ‘This mountain that’s me’. It was initially an association of image and meaning that let to the subject matter. The carbon in coal is the same carbon referred to in carbon printing. Carbon printing is a photographic printing process that is excellently suited for reproducing dark tones. Moreover, the black triangle of a coal mountain silhouetted in the landscape is a fitting sequel to my earlier photographs of Dutch landscapes comprised of rectangles. For this project I developed a variation on the carbon printing process, a photographic printing technique from the 19th century. I took a bit of coal from every mountain I photographed. I then ground this coal into a pigment that I used to make photographic paper. I used this paper to make a print of a mountain with the coal originating from that mountain. In other words, the object of the photo, the mountain, has become one with the subject of the photo, the print itself.

68 slagheaps, coal prints,12×20 inch large format photography. Edition of 5 + 2 artist proofs.

Cette Montagne c’est moi, the book (2012)

a representation of the 68 slagheaps in a book. With designer/artist Hans Gremmen I made a book on the series Cette montagne c’est moi. He translated the concept of my prints into a  concept for a book. The book was printed on black paper. Two layers of white ink were printed to create the highlights and whites. Yellow, cyan and magenta were added to indicate the differences in tonality of the original prints. Together with lithographer Sebastiaan Hanekroot and book printer Jos Morree we did something never done before in books on photography.

A portrait and an apartment

15 portraits, 9 interiors, 6 exteriors  A small series about teenagers in the Russian city of Dmitrov, 80 kilometers  north east of Moscow.

11×14 inch large format photography, printed in platinum on Arches.

Pres de Mont St. Victoire

18 landscapes of the Mont St. Victoire, France  Mont St. Victoire has been numerously painted by Paul Cezanne. He choose a perspective that shows the ridge as a triangle, ‘en profil’. I photographed it ‘en face’, dominated by horizontal lines.

12×20 inch large format photography, printed in platinum on Arches. This project is considered as a personal study.

2004 →
Polderland Nl/Fl


10 landscapes of the Flevopolder, reclaimed land, in the Netherlands. The Dutch polders are a good examples of man-made landscapes. Although I avoid direct references to mankind in my landscapes, its presence is still visible in the arrangement of the constituent elements. Tangent planes and lines structure these photographs.

12×20 inch large format photography, printed in platinum on Arches. All prints have different hues. Edition of 10.


10 portraits and 12 urban landscapes of the destroyed neighbourhood Roombeek, Enschede, Netherlands.The district was hit by a fireworks explosion on May 13, 2000. A plan for recovery was developed immediately after the explosion. I entered the neighbourhood after it had been cleaned from all debris. I photographed the area and those involved in planning the new community.

8×10 and 11×14 large format photography, mixed technique.

1999 – 2005
In contact met Nagele

An anthropological and photographic study on Nagele, a small new town in the Netherlands, designed in the fifties by famous Dutch architects like Rietveld, Stam and van Eyck

Part I (1999)
9 panoramic images of the village. Each panorama consist of 10 different pictures, contact printed in platinum on Arches (5×30 inch)

Part II (2000)
26 portraits of villagers. 11×14 inch large format photography, printed in platinum on Arches.

Part III (2001-2004)
26 sites and situations in the village. 11×14 inch large format photography, printed in platinum on Arches.

Part IV (2005)
4 landscapes: moving out of the village. 12×20 inch large format photography, printed in platinum on Arches.