I was born in 1985 in Waalre, the Netherlands, and I work at the intersection of art, design, science, and signal. My practice moves fluidly across disciplines — from cyanotypes and textiles to computational drawings, field-line simulations, and 3D-printed ceramics. What connects these forms is a fascination with the way light, matter, information, and time intertwine. Mathematics and physics are not constraints in my work, but languages: tools for translating the invisible structure of the world into tangible experience.
My work exists in motion. I move between engineering, textiles, computation, photography, and sculptural form as if following a single current — one that changes medium, but never direction. From the outside this may look like multiplicity, as though I lead several lives at once; from the inside, it feels like one continuous act of recovering momentum, of shifting from silence into expression.
Over time, this motion has taken on a name: Making Up for Lost Time.
Not out of regret, but out of transformation. Time is the one medium that cannot be reclaimed, yet I continue to reshape it — compressing years of stillness into moments of creation. I work quickly, not out of haste, but out of
alignment.
When idea, material, and structure fall into resonance, the work unfolds through me rather than from me. Productivity becomes irrelevant; what matters is
continuity,
the unbroken dialogue between curiosity and the world.
The media I use — light, cloth, cyanotype chemistry, mathematical systems, generative code, embroidery, and ceramic clay — may seem disparate, yet they are bound by a universal grammar. Oscillations, attractors, wave interference, growth patterns, morphogenesis: these behaviors connect fabric to field lines, signal to stitch, and equation to form. What appears as surface variety is actually a deeper coherence — the same structure written in different alphabets.
Underlying my practice is the belief that art is a form of signal processing. Each work is a relic of interaction: a transmission captured, a behavior observed, a pattern retrieved from noise. Whether expressed through the grain of a cyanotype or the pathways of a stitched line, my work asks how systems generate meaning, and how meaning becomes material.
Making Up for Lost Time is not a backward-facing narrative. It is a forward motion — transforming absence into presence, silence into signal, and the finite into something that continues to transmit.
