During my residency at the Frans Masereel Centrum I would like to work with a series of symbols and
signs which are part of Unicode. Unicode is an international computing industry standard for the
consisting encoding, representation, and handling of text expressed in most of the world’s writing
systems. I am especially interested in the digital symbols and signs which are used in every day
communication via email, social medias or instant messaging. They have become an essential part of
These signs are sediments of cultural references and they are content and form at the same time. As
silhouettes, they are functioning as ambiguous indicators and codes for emotions. They claim to work
universally and indefinitely. Concurrently they mark a boundary or an end and refer to abstraction.
In some recent work of mine I used them as read-mades or objet trouvé and applied them as simple
commodities on the black bitumen surfaces of the paintings to create more circuitous links to this
networked environment we are living in. Working with this shapes brought up following questions:
What expression is inherent to that new formal language? Where does it derive from? What kind of
information can be extracted from that? What kind of conceptual inferences can be drawn from
Unicode which considers itself as an ongoing global project? What kind of logics can I myself as an
artist develop from that and how to abstract this appropriated material and feed it into my production?
At the work shops I will challenge these digital signs and symbols in different printing techniques in
close combination with my painterly practice. I am especially interested in etching and silkscreen
printing which I already have some experience in. I will try to find a prolific tension between working
in serial reproduction which is inherent to the medium of printing and more individual forms of
expression which require a strong intuitive and more arbitrary painterly logic. I would very much
appreciate to learn more about aquatint and sugar lift aquatint plates, as well as photogravure
techniques. I would also like to combined different techniques, like printing on very thin paper by
Chine-collé for example and applying that on to canvas or wooden boards which I had been painting
on before. Or printing on canvas and then starting to painting on top of that.
I would very much like to take my open studio practice to Frans Masereel Centrum and its specific
context and concentrate on producing a new series of works there. I am looking very much forward to
be able to make us of workshops and to improve my skills and knowledge about printing techniques.