Fietsenrek (voorheen Syntactic)

The title 'Bicycle rack (formerly named Syntactic)'

My working method, concept and visual language suit me and come from my own 'visual culture'. The visual culture of people with autism. This influence also applies to the naming; titles are direct, intuitive and associative. Despite the fact that for myself and in communication with goldsmith Stefan Witjes, we consistently called it 'the bicycle rack', the title became Syntactic. Syntactic was a compromise. Although 'bicycle rack' is very 'Dutch', my experience was that such titles do not necessarily receive a good response. As if it devalues my work. From now on, my working method will be communicated as it is. The method is valid, explainable and belongs to me. New found liberty allows me to investigate what I do with that freedom, and where it will lead. For example, what influence has language had on visual language and its development? I often work without a plan or concept. I'll see what it will become later, forms emerge from that (which I find logical) and I use that to make autonomous images, furniture, accessories and now jewelry. The (wrong) associative thinking, the solution-oriented approach make what could otherwise be an obstacle, fun. That's my motivation.

Bicycle rack (formerly named Syntactic) #1 at Piet Hein Eek

I present the bicycle rack jewelry at the Piet Hein Eek location. The basic form of this originated from a sketch design for a bicycle rack at the Wallhouse #2 in Groningen. The shape is a rearrangement of the ribs of a cube. The shape accidentally ended up in jewelery due to unfamiliarity with goldsmithing. I had technical questions about the hanger/line 'Tante Greetje' (#2). I wanted to investigate and visualize these bottlenecks through geometric objects instead of putting them into words. One of these objects was 'The bicycle rack' and this is how this new collection was created. Barstools (six variations) from a new line of furniture are also on display. The stools arose from a personal wish, namely to be able to sit dynamically. Compare it to a climbing frame. The barstools are presented in raw form, an unfinished state. I have come to love the rough version and it also gives viewers the space to fill in the finishing themselves. I am very curious about other peoples' thoughts.

Bike rack (formerly named Syntactic) #2 at Messmerizing

The original idea was to do 1 presentation, when I ran into a 'problem' during registration: the accountability behind the work. No theme or drive other than the creative process itself in this collection. Of course I take things like sustainability into account, but that has nothing to do with the form of the work itself. The only thing I could throw into the mix was how autism expresses itself in my work in concept (none), working method and visual language. Something went 'wrong' there, so I added a 2nd presentation, to show how I work on the basis of various works. Jewelery 'Tante Greetje' is a private assignment where the shape is a derivative of my autonomous works 'Kubieken'. The piece of jewelery is made of 18K gold that has been sandblasted. My first jewel in precious metal. Jewelery positions itself in a very free field; it is design with more freedom than art. Although subject to gravity, the objects hang freely, there is not necessarily a top or bottom. At Messmerizing you will also find an example of how my shapes are recycled. In the 'Bicycle rack' coffee table, the shapes of the jewelery presented at Piet Hein Eek have been incorporated into a piece of furniture.