Technique and materials 

During the past 20 years I have been able to develop my own technique and style. The first practical instructions I received from Ad van der Lugt. He was my teacher. Later I started to experiment and try-out a lot myself.

The technique I use is best described as glazing technique, where hundreds of thin, transparent layers of paint are applied on top of each other. This way deep, intense colors are created. The painting itself is done in rhythmic movements, resembling and connected to my own breathing process.


I usually use linen or soft fiber panels. I first apply a layer of textured paint from quartz sand.
This way you have a good 'grip' and structure to apply the first layers of Gesso primer on.
I use white Gesso to let the light reflect properly and as preparation for the actual painting.

Paint mixtures

I mix my paint mixtures carefully and with a fair amount of attention. I use vortexed water in which I dissolve color pigments and essential plant oils. Vortexed water is water that was brought into a spiraling movement. This is the closest I can get to a natural, living substance to paint with. The pigments I use are the pure raw materials from 'paint mill De Kat' in Zaanse Schans. I use them in combination with paint from Winsor and Newton. It would be best if I used plant pigments, but unfortunately they loose their color and fade over time.
I do use plant paint for studies and research.


I work with brushes aswell as with palette knife and sponges. I use a palette, but I also use small ceramic bowls, filled with paint mixtures, which I hold in my hand. During the day I paint with the incoming daylight. At night I use a special daylight lamp which is attached to my easel.


I make the frameworks myself from different kinds of wood, like ash, cherry wood, oak, elm, maple, chestnut and beechwood. I saw everything precisely so that it fits perfectly. Then I place the parts in clamps and then I start to gouge and treat the frame. This is traditional craftmanship which takes a lot of time, but is very nice to do.
Then I attach a suspension at the back of the frame and after that the painting gets its own burned stamp and everything is rubbed in with oil and beeswax.


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