In my paintings I focus on the tension between the strength and the inner vulnerability of the woman. Emotions like fear, anger, guilt, insecurity, driven by suppression, seksism, expectations and the ideal of beauty always return. The attractiveness of the eyes and hands, like mirrors of the soul, are determinative for the experience of the emotion and dare the audience to connect an anecdote with the emotion.

To be suppressed, the situation of the woman doesn’t matter.

Your appearance doesn’t always show who you really are and how you really feel. The appearance of women does not show their true feelings. The way a woman looks on the outside, does not have to show how she feels.

In my paintings I try to show the ethos of the ’40, ’50 and ’60. Mostly I choose western women in a very popular period (old Hollywood stars). I try to connect the eastern and western culture and I try to show that we all have the same emotions, regardless the culture we live in.

In my paintings I use colorfull patterns and designs that are characteristic for me and my style and that allow me to give something from myself. It makes the paintings complete.

Although I use film stills and old pictures of old Hollywood stars, I don’t copy them. The translation through my eyes, my brain and my hands is important. I only roughly copy them. I feel free to show expressive details on a larger scale or even out of proportion, the eyes in particular. This also counts for the perspective and other compositional factors.

I use different painting techniques, like painting without dimension, flat surfaces, figuration and plastic. There is a parallel between my technique and my intention. The use of colorfull and detaillistic technique helps me to show the emotions of women on the canvas.