C.V.
C.V.
Opleidingen
Rotterdam, Academie van Beeldende Kunsten / dagopleiding /1980-1985
Andere opleidingen
m.t.s. voor fotografie fotografie 1971-1972
vrije academie alle disciplines 1973-1975
Lidmaatschap:
Lid van Beroeps / Kunstenaarsvereniging HKK
Nevenactiviteiten
2002 - 2025 begeleider werkbespreking en idee-ontwikkeling fotografie/beeldend
1990 - 1998. zelfstandig ondernemer diamonumenten
1994 - 2006 begeleider fotografie op de vrije academie en docent digitale fotobewerking / idee-ontwikkeling
2005 - 2016. begeleider Photoshop. Koorenhuis
Groeps Tentoonstellingen
2025 Atelierpresentatie
2024 Atelierpresentatie
2024 HKK
2022 HKK.
2022 HKK.
2018 HKK. vers bloed
2016 HKK. vers bloed
2015. HKK. zie www.justdiggit.com
2014 HKK op uitnodiging
2013 HKK op uitnodiging
2012. Pand Paulus Schiedam. De plek van het pand als inspiratiebron
2010. Kunstlobby Capelle a/d IJssel. t. ransformation-project
2009. RAR galerie Spijkenisse houten objecten
2008. koorenhuis Den Haag. docenten tentoonstelling
2007 ISS Den Haag samenwerking m.kunstenaars uit india
Solo tentoonstelling
2006. Smelik&stokking
Projecten
2016 duinoord kunstroute atelierroute
2016 ArtArnhem Art Arnhem beurs
2015. Nagafoundation Just-diggit-project milieu-project
2012 Atlas-inspiration-marokko
2011 Balloo Kunst. k unst in het landschap kunst op locatie
2008 Cultuurhuis Babayan. w ater=bright/mustafapasa/turkije project
1985. Van Abbe Museum Project om installatie van Willem de Ridder te verbeelden
kunst in opdracht
1998 - 2025 Personal visuals. www.personalvisuals.nl
1990 - 1998 Grafmonumenten/ diamonumenten
2015 - 2016 Generali Innovatie nederland. prijsmodellen
Publicaties
1985 Zuid-Hollandse talenten. catalogus culturele raad
2015 Gedichten en beelden van de zee in eigen beheer boekje
2011 Artworks personal visuals. zalm magazine
2008show your hope. i sbn978-90-811136-3-2 catalogus
2007 De esthetica van de steunkous. tukker&everwijn instituut/ rotterdam catalogus
Prijzen
1987 BDO dijkergroep prijs
1986 Prijs voor Europese Fotografie
My Youth
In my youth, I experienced a stark contrast between the freedom of outdoor life and playing in nature and the strict, bourgeois morals (they were too narrowly bourgeois to even call them morals) of my family circumstances. I found the boundaries imposed on me by my family in communicating with people very oppressive. It's understandable that I later strongly resisted this. The changing morals of the 1960s and 1970s literally played into my hands.
My later choice of photography immediately confronted me with the imposed limitations of the image frame. The camera simply provides a rectangular image, a frame, within which the moment is captured. This professional boundary and its breaking has become a recurring theme in my work. My work has thus become an ongoing investigation of the image and its form. With nature as a starting point, I try to understand its life processes and capture them in a new visual language.