I'm a Belgian painter, living and working in Brussels.

Rather than a process in which art is delivered as separate products, I see my practice as a game between different media. My paintings are interpretations of digital collages and cut-up photos, which in turn are interpreted and produce other images.

My visual language is guided by flaws, fluctuations, small deviations from what is expected. I think they are essential in the making of art. It comes down to catching them and making them visible.

A pattern is only interesting when it mutates. In doing so, I question the fascination with patterns. Why the floral wallpaper, the Christmas sweater, four identical decorative rims, the wood grains in the fake parquet, the handbag with panther motif, the water lilies floating on your screensaver?  

Previously, the hunger for regularity and confirmation was perhaps understandable, until the industrial revolution gave us that regularity. From then on, patterns were mass-produced and thus relegated to banality. Does that mean that today's penchant for patterns is a penchant for banality? In this way I try to mirror the decay and absurdity around us and to dissect patterns in what is left behind.

Sometimes I think that my oeuvre is a premature post-apocalyptic coffee table book.