From the 1970s on I tried incidentally to create what was felt like 'art'. From 2013 onward more energy is spent. Follow my way from almost zilch. Wood, cement or stone or metal: together or alone. Often demolition material: via the third dimension searching for border crossings. Traveling on this long road, it gets longer . . .

dated 1979 until 2013 (click on an image to enlarge an artwork)
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Mare Felicio


Mare Felicio: / Humankind and fences are / part of one world. // No war /  without fences / or mines. // A fence separates / the human from his neighbour, / the wolf from the sheep. // The wolf separates / the fence from the sheep / and the human looks aside. // There are merely / no fences / against gad-flies / or gossip.   (made to hang)



Twosome // As usual / the twosome hang / at the outside / of their gents-home / looking at / the hard-workers, / the home-walkers, / the ne'er-do-wells / who look up nor down / content and dissatisfied /  with what the day / brought.    

The sea at Ponte d'Allure


The sea at Ponte d'Allure / sparkles brightest / at midday. / At that time / any vessel is at high risk / of drowning / in the brightness / of it's colours. (R) Ponte d'Allure is a registered trademark (DM/2013)



What you raise, is heaven / with two that becomes / balance and / nature gives birth to art



The basis is: a second life. Material for demolition forms plateau for relief. Searching for a distance from rectangle, free or enclosed (the frame is own product)



Fixations: four layers / the first two paint on paint / the following two / wood in parallel. // Under-wood, fixed / upper-wood floats / but cannot fly / due to fixations. Donated to Anna Kounelakis, for her dedication towards IIAR, at the 9th Conference of Anticancer Research, Porto Carras, GR, October 2014.

Three hundred


Take a screw / and omit the driver. // And it becomes so darn empty . . . // But the screw / fixes emptiness / to a plate / by itself. // And the plate / becomes a site / filed with threehundred.

The High Building


With wild gestures / you don't liberate the mind / from it's prison. // With silence / you don't stop howling. // Blood crawls / where it can't go, / and crawls back again.



All the material from a pellet (nails, block, plate) taken together with pieces of emaille made by my father > 40 years ago, make sentry with flag



Wood partly eaten by bugs. Caught colour while floating. Wall sculpture Inspired by 'Assemblages d'empreintes'by Jean Dubuffet (1953), art-piece in fact a collage consisting of hunderds of butterflies. 

Rua Santa Marta


Somewhere in a city in Portugal: an abandoned building, with a tree growing at the second floor from this house. Inspiration for branch of apple tree, on wooden plate with relief and colour.  



Trees grew and died. Some branches were collected, and after long storage, reshaped and connected to underground. By and by, the construct took the shape of figures interconnected. Some details adapted in 2014 Part of current exposition in Schagen: see under expositions at this site



After the closure of the mink-farm nearby, we found the skull of a stray cat (probably victim of an escaped mink) and the skull of a mink (dead after escape). "Natural" enemies taken together This relief is a wall-ornament

magic bird in cage


This bird is magical / and in possession of a shell / and sharp beak. / The owner was conservative / and has put her in a cage. / Who knows the number formula / will free her / and his or hers. Cage devised by Drager Meurtant. Bird created (ceramics) by Jeanine Keuchenius (see also in the year 2004

Steep (brown and blue)


At the construction of a window of our atelier, blocks of foam-concrete were removed for later use. Carving goes easier than in stone, and the weight is easier to manage. Now it is an image that echoes a wall in the Corse mountains, on the way to the summit of the Monte Petrone (1767m). This particular wall rose some 60m, and it was difficult to find a chimney that brought us on higher ground

bug on the roof


After several years adapts this bug (roof-stone, red, with copper legs and iron antennae) its color to that of the roof: traits of a cameleon in dead material

shades of shadow


Inspired by the 'found material art' movement of the 1970s, I composed a carburetor item in woodpanels (approx. 1976). Recently, I restored this piece and adopted the color setting.

no art


After the storm of 1978 many trees had fallen. Forest workers had sawn this wooden piece from a pine-tree. After removal of the bark, it served as ornament for many years: recently I put it on a pedestal. Nature had done (almost) all the work in this creation. Thus: "no art".