I do not seek to romanticise nature, nor am I working from a political or moral position.
I am concerned however with the knowledge and insight we gain by interacting with the physical world and the materiality of things.

When I find myself outside, driven by a natural tendency, I stop and collect materials such as twigs and rocks, because I feel that there is something to discover in them. The means of my art lies in the ideas, in the process of making, in the evaluation of formal and spatial relationships, as well as in the assembled or made objects.
The artist is, for me, a welder of different realities or an interface between insight and communication, between insight and consciousness.

Permanence and impermanence is of great importance in my practice. I find that an understanding of the eternal cycles of nature is essential in order to respect it.

In nature, impermanence might also appear as movement, while permanence might appear as stillness. Since I use materials such as wood, loam and soil, most of my works eventually disintegrate and what is left is the essence of a work. The physical object is impermanent while the labour performed by the human body, and the memories created by the presence of the work have permanence.

The collision between the weather cycles and the land make the collection of materials possible. My work is a testimony of the human labour in interaction with these materials.