top of page
-
DescriptionAfter analysing the aesthetic of glitching video’s, and researching the essentials of the videoscreen further, I started creating the “Shattered Hole” series. In the videos, a mass seems to grow in one of the videos, and draw in during the other. With each sort of movements, pixels are created in the black “zero-point” of the screen, emphasising the essential part of video: pixels, which give out color and show movement. The nuanced movement, which is hard to pick up on, and the darkness of the screen, led me to title the videos “Black Hole” and “White Hole”, with the idea that each phenomena tore the black screen or space of the video, revealing the different frequencies which make up the basis of video.
The Sibylline Diary
 #12018 |  #22018 |  #32018 |
|---|---|---|
 #42018 |  #52018 |  #62018 |
 #72018 |  #82018 |  #92018 |
 #102018 |  #112018 |  #12 (female)2018 |
 #132018 |  #142018 |  #152018 |
 #162018 |  #172018 |  #182018 |
 #19 (exotic)2018 |  #202018 |  #212018 |
 #222018 |  #232018 |  #242018 |
 #252018 |  #262018 |  #272018 |
 #282018 |  #29 (impact)2018 |  #302018 |
 #312018 |  #322018 |  #332018 |
 #342018 |  #352018 |  #362018 |
 #372018 |  #382018 |  #392018 |
 #402018 |  #41 (bloedbaan)2018 |  #42 (inversion)2018 |
 #43 (water)2018 |  #442018 |  #452018 |
 #462018 |  #472018 |  #48 (micro-macro)2018 |
 #49 (monuments)2018 |  #502019 |  #512019 |
 #52 (age & wisdom)2019 |  #532019 |  #54 (temple priest)2019 |
 #552019 |  #56 (tombs)2019 |  #572019 |
 #582019 |  #59 (blood transfer)2019 |  #60 (digital landscape)2019 |
 #612019 |  #622019 |  #632019 |
 #642019 |  #652019 |  #662019 |
 #672019 |  #682019 |  #692019 |
 #702019 |  #712019 |  #722019 |
 #732019 |  #742019 |  #752019 |
 #762019 |  #772019 |  #782019 |
 #792019 |  #802019 |  #812019 |
 #822019 |  #832019 |  #842019 |
 #852019 |  #862019 |  #872019 |
 #882019 |  #892019 |  #902019 |
 #912019 |  #922019 |  #932019 |
 #942019 |  #952019 |  #962019 |
 #972019 |  #982019 |  #992019 |
 #1002019 |
 #1012019 |  #1022019 |  #1032019 |
|---|---|---|
 #1042019 |  #1052019 |  #1062019 |
 #1072019 |  #1082019 |  #1092019 |
 #1102019 |  #1112019 |  #1122019 |
 #1132019 |  #1142019 |  #1152019 |
 #1162019 |  #1172019 |  #1182019 |
 #1192019 |  #1202019 |  #1212019 |
 #1222019 |  #1232019 |  #1242019 |
 #1252019 |  #1262019 |  #1272019 |
 #1282019 |  #1292019 |  #1302019 |
 #1312019 |  #1322019 |  #1332019 |
 #1342019 |  #1352019 |  #1362019 |
 #1372019 |  #1382019 |  #1392019 |
 #1402019 |  #1412020 |  #1422020 |
 #1432020 |  #1442020 |  #1452020 |
 #1462020 |  #1472020 |  #1482020 |
 #1492020 |  #1502020 |  #1512020 |
 #1522020 |  #1532020 |  #1542020 |
 #1552020 |  #1562020 |  #1572020 |
 #1582020 |  #1592020 |  #1602020 |
 #1612020 |  #1622020 |  #1632020 |
 #1642020 |  #1652020 |  #1662021 |
 #1672021 |  #1682021 |  #1692021 |
 #1702021 |  #1712021 |  #1722021 |
 #1732021 |  #1742021 |  #1752021 |
 #1762021 |  #1772021 |  #1782021 |
 #1792021 |  #1802021 |  #1812021 |
 #1822021 |  #1832021 |  #1842021 |
 #1852021 |  #1862021 |  #1872021 |
 #1882021 |  #1892021 |  #1902021 |
 #1912021 |  #1922021 |  #1932021 |
 #1942021 |  #1952021 |  #1962021 |
 #1972021 |  #1982021 |  #1992021 |
 #2002021 |
For a while now, the interpretation of “meaning” in my works became an important aspect of my practice. When confronting this idea with an archive of images I had collected over the years, but which had no true purpose, I started arranging and interpreting meaning in them just like the sybils, or ancient oracles, would have done.
Two notable sources left behind by the sybils were the Sibylline Books and the Sibylline Oracles.
The series “Sibylline Dairy” mirrors the characteristics of these books: the images, marks and scribbles form chaotic connections that cannot be reduced to a single meaning, but have to be interpreted each time, and each time the interpretation can shift.
bottom of page