Oil painting Translation of the Stations of the Cross, 160 x 100 cm, by Jofke

Summary of my vision of Christianity
Without imagination, it’s hard to talk about invisible spiritual matters. I think that persons, stories and other metaphors in the Bible are personifications to get a message across. Messages for meaning to think about in a philosophical, psychological or spiritual sense. Thanks to these metaphors, invisible things become less abstract, but still interpretable in different ways.
Just as abstract art is difficult for many to understand, it is easier for some to interpret Bible stories literally. When we extract symbolic messages from the stories, we can come up with new ideas and translate them. This encourages action and change.

Interpreting art or biblical stories in different ways can cause differences of opinion. This can lead to discussion, arguments and even war. But also for deepening, development, inventions, new creations and relationships and enlightenment of the mind.
You could say that our interpretations encourage good or bad action.
What would happen if humanity succeeded in being judiciously open to the ideas of others, without seeing them as a danger?
What if we all always act out of love instead of fear?
Is there no movement anymore?

My idea about the Holy Trinity
Jesus is the personification of light, the love that lives in everyone.
God is the personification of the great whole that makes up everything. Also the things that we judge as bad or wrong. Things are, things happen. God is not responsible for making our lives as pleasant as possible. That’s us.
God is the presence of ALL that gives us the opportunity to make something of it. From a blade of grass, to food, to the elements with which we can build, to knowledge with which we can solve difficult dillma’s and make clever inventions, to the need to enter into relationships, to our opinions that can generate discussions and movement, people and animals, all in all.

In summary, you can say that

  1. Our father symbolizes the elements water, air, earth and fire and the space in which everything can exist.
  2. The son symbol stands for our ability to think and act autonomously.
  3. The Holy Spirit symbol represents the spiritual energies of the imperceptible and irrational matters.

The main themes behind the 14 tripartite stories:

  1. From resistance to acceptance
  2. Betrayal and denial of the good
  3. Glorification at the expense of others
  4. Denial for fear of the consequences
  5. Ego and altruism in conflict
  6. Sacrifice for Healing
  7. Bearing responsibility
  8. Suppression
  9. Dedication to the whole
  10. Trust, because we don’t know what’s in store for us.
  11. Surrender to intuition and faith
  12. Gratitude
  13. A new beginning thanks to forgiveness
  14. The eternal light, untouchable in infinite love

Because I think that everything we do and experience can be categorized in these themes, I was able to categorize my art as well. I introduce each theme with an introduction for each station and how I have depicted this story.


Station 1

Resistance and


Jesus on the Mount of Olives (Luke 22:39-46)
Jesus prayed on the Mount of Olives to His Father to take away the cup of poison from Him which meant His death on the cross. Knowing what His destiny was, Jesus hoped for a different outcome. The resistance He offered showed the humanity of Jesus. He fell to the ground, began to pray, and ended his prayer by accepting his fate with the words, “Not what I want, but what you want” (Mark 14:35, 36).

Work 1. Resistance increases, acceptance releases (2017), Oilpainting

This painting of 60 x 60 cm in oil paint painted with a yellowish background I made in 2017. On the right side of the surface is a nude female figure painted in off-white with a curved head. In front of her there is a cross of dark brown planks falling down at chest height. The cross is facing down with the flat side. The ropes on which the cross apparently hung are still attached to the top of the cross. They follow the cross in its trap and are vaguely painted in connection with the suggested movement. The female figure stands up by holding a red pole with his left arm outstretched, in front of the spectator on the right. Between the red pole and the woman’s feet there is just one hand with a piece of rope around the wrist. The wrist is cut off by the bottom of the painting. The left side of the painting contains a large dark green spot representing the shadow of the female figure.
In the green spot the text resistance increases – acceptance releases is painted. This means in Dutch: resistance increases – acceptance dissolves. The painting is about letting go.

Work 2. Gethsemane (2017) – Audio

Since I was a child I have heard a voice in my head saying: ‘If you sing for me, you’d better keep your mouth shut’. This has made me feel insecure when I’m singing, while I really enjoy doing it. To put my money where my mouth is, I took the plunge and sang the song Gethsemane from the rock musical Jesus Christ Superstar. In front of you, you can walk into the confessional corner and sit on a chair. You can put on the headphones on the chair and listen to the song including the vulnerability in my voice. In this song Jesus goes from resistance to acceptance in 4.5 minutes by resigning himself to his fate.

Songtekst Gethsemane – Jesus Christ Superstar

I only want to say if there is a way
Take this cup away from me
For I don’t want to taste it’s poison
Feel it burn me, I have changed
I’m not as sure as when we started

Then I was inspired, now I’m sad and tired
Listen, surely I’ve exceeded expectations
Tried for three years, seems like thirty
Could you ask as much from any other man?

But if I die
See the saga through and do the things you ask of me
Let them hate me, hit me, hurt me, nail me to their tree

I’d wanna know, I’d wanna know my God
I’d wanna know, I’d wanna know my God
Wanna see, I’d wanna see my God
Wanna see, I’d wanna see my God

Why I should die?
Would I be more noticed than I was ever before?
Would the things I’ve said and done matter any more?

I’d have to know, I’d have to know my Lord
Have to know, I’d have to know my Lord
Have to see, I’d have to see my Lord
Have to see, I’d have to see my Lord

If I die what will be my reward?
If I die what will be my reward?
Have to know, I’d have to know my Lord
Have to know, have to know my Lord

Why should I die?
Why should I die?

Can you show me now that I would not be killed in vain?
Show me just a little of your omnipresent brain
Show me there’s a reason for your wanting me to die
You’re far too keen on where and how and not so hot on why

Alright I’ll die
Just, just watch me die
See how, see how I die
See how I die

Then I was inspired, now I’m sad and tired
After all I’ve tried for three years
Seems like ninety

Why then am I scared to finish what I started?
What you started, I didn’t start it

God, Thy will is hard but You hold every card
I will drink Your cup of poison
Nail me to Your cross and break me
Bleed me, beat me, kill me, take me now
Before I change my mind

Station 2

Jesus is betrayed by Judas and arrested (Luke 22:47-48).
Betrayal is all the greater when sin is a choice, like the fact that Judas betrayed Jesus. Judas lived in Jesus’ presence to learn from Him. But because his heart was not really changed by the power of the Holy Spirit, he fell away when Satan tempted him. The trick is to examine ourselves to see if our actions are authentic or if we are only doing what we have been taught or think we should do.

Work 3. Treason (2017) – Video

To translate this theme I made a penetrating video with a penetrating sound. You can put on the headphones in front of you on the TV and listen to the sound.
You can see a jet of water that hits a vertical glass plate hard. The splashing of the water creates a form of an eye. If you don’t know it’s water, you don’t immediately see it. By omitting the source, it has become an abstract image. People often disapprove of the sound and turn off the headphones as soon as possible: ‘I can’t hear this’.

Station 3


Jesus is condemned by the Sanhedrin (Luke 22:66-71)
The Sanhedrin, the council of elders consisting of seventy priests and scribes and one high priest, demanded that Pilate had Jesus put to death because they were afraid that He was a threat to them. As it turns out, proud thoughts can easily cause the fall of even the most pious people. This incident is a warning to all people to make sure that we don’t glorify ourselves by judging others selfishly.


Work 4. Pride (2017) – Oilpainting

This self-portrait, which I painted in 2017 with water-dilutable oil paint, depicts a naked female figure lying in a fetal position in the right sunglasses – to the left of the viewer. In the other glass a woman with arms and legs wide apart; one closed and one open position. It is a smiling face painted in reddish-brown tones. The colour is lighter or darker because the paint has been used more diluted or pure, respectively.

Station 4

Peter denies Jesus (Luke 22:54-62)
After the arrest of Jesus, Peter denied three times that he knew Jesus. Peter was a beloved and trusted disciple of Jesus who saw many miracles happen in person. Nevertheless, Peter showed the weakness of mankind by denying Jesus for fear of being arrested. All over the world Christians are still confronted with persecution and humiliation by the unbelieving community. This varies from ugly words to mistreatment and death. Even silence for fear of the consequences is a denial of what is sacred. This denial shows the weakness of man as opposed to sincerity; to show what you stand for in good faith.

Work 5. Denial (2017) – video

In this video, I’m blowing up a balloon. Knowing what the result will be, I keep blowing until the bang. In this way we can remain silent or ‘talk about’ something in situations. Afraid of the consequences that we simply don’t want to hear. There comes a time when we can’t get around it and have to face the consequences. Typically, I’ve seen the video many times, I know what’s going to happen and I’m still afraid of the bang every time.

Work 6. Denial (2017) – picture

A photo shows the result of a negative action. In this case the rubber remains of the blown balloon.
The background is white and the pieces of balloon are orange. The picture is focused on the pieces in the upper left corner. Because it is a macro photo, the shapes at the bottom and at the right are very blurred thanks to the large contrast in depth of sharpness.

Station 5
Ego versus altruism

Jesus is tried by Pontius Pilate (Luke 23:13-25)
By today’s legal standards, it is unlikely that Jesus would have been convicted in any court of law, especially since no actual evidence could be brought against him. Pontius Pilate could not find Jesus guilty for anything he had done and wanted to release him (Luke 23:13-24), but the Sanhedrin considered Jesus a great threat to their livelihood and rule over the Jews and demanded that Pilate order his execution. Man’s ego wants to bring about his own salvation for prestige and honour instead of ethical action out of selflessness.

Work 7. Unleash the warrior (2017) – Oilpaint on

This oil painting of 60 x 60 is composed of purple and red colours alternated with pastel shades. On the lower half of the background two upper legs have been painted in the left corner with transparent paint. At the top, in the middle, a figure is bent over his hands and knees, and another figure is bent over him. It is not clear whether they are men or women. Both persons hold with their hands the arms of a naked woman who is depicted somewhat to the right of the middle with her arms spread wide into the air. She can do nothing but let go of control. Her head is hanging down. Over the legs in the left corner text has been painted that overlaps the female figure. It says: I’ve unleashed the warrior in me to release yours. I wrote this text in a situation where I had a tendency to exercise control. For me it is a lesson to let go of control – often based on fear – more often and to see what it brings to others. What someone else does then no longer revolves around me.

Station 6

Jesus is flogged and crowned with a crown of thorns (Mark 15:15-17).
Jesus’ stretch marks would bring us healing (Isaiah 53:3-6). Healing concerns spiritual healing or the healing of sin. Forgiveness of sins is often presented as a healing act. Jesus sacrificed himself as a martyr for the healing of (the soul of) mankind.

Work 8. Sacrifise (2017) – Audio

At the age of 39, I came to the conclusion that human actions are described in the Stations of the Cross.
39 Fighting years?
39 years to come to an understanding?
With an audio recording I show the sound of 39 whiplashes that Jesus received, with my compelling voice that counts.

Station 7
Bearing responsibility

Jesus takes up His cross (John 19:17)
When Jesus took up His cross, He carried not only wood, but also the sins of mankind. He carried an enormous responsibility for the benefit of mankind. Jesus calls us in Matthew 16 verse 24: “He who wants to come after me must deny himself, take up his cross and follow me”. He also reveals that this is not a choice. This means that we must be prepared to give up our own will and our ambitions if we are to serve a higher purpose in doing so.

Werk 9. Carry the big picture – Olieverfschilderij (2017)

Work 9. Carry the big picture – Oil painting (2017)

In this 60 x 60 cm painting, a reclining nude female figure in white tones forms a landscape with a red sky above it. At one third of the height of the painting a horizon has been placed, representing the end of a water surface. From the lower left corner of the painting, a railroad crosses the water to a point on the right side of the horizon. In the front left-hand corner of the painting and to the right of the railway, there is a brown pole with two naked female figures that form an Andreas cross. This cross stands for Divine power. The letter X (Chi) also represents the spiritual energy that is part of everything that exists. Two women who represent, as it were, the road sign that is responsible for the landscape.

Werk 10. Responsibility – Fotoprint en mixed media (2009)

Work 10. Responsibility – Photoprint and mixed media (2009)

On this canvas of 70 x 50 cm is a photo printed of a man from behind depicted from his waist. The arms are spread out upwards, referring to Jesus on the cross. The photo is illuminated in red and from the left there is yellow light entering the canvas. At the top of the canvas there is a thick structure on top of the canvas that seems to be dripping down like a curtain over this figure of Jesus.

Station 8

Simon of Cyrene helps Jesus to carry His cross (Luke 23:26)
We know very little about Simon of Cyrene because he is no longer mentioned in the Bible after he helped Jesus to carry the cross to which he was to be nailed (Luke 23:26). Simon was instructed by the Roman soldiers to help. Probably for fear of losing his own life, Simon did not refuse.
As long as we are afraid of the consequences, we will do what we are told, we live in oppression and we are at the mercy of the will of others.

Werk 9. Carry the big picture – Olieverfschilderij (2017)

Work 11. Being, Acrylicpainting (2002)

This 30 x 80 cm high acrylic painting depicts a woman from her thighs. The head is bent downwards. Above the head a large block has been painted in which the word ‘Being’ is engraved. The whole work is painted in light pastel shades with beige-yellow as the main colour.

Work 12. Enchain, Oilpainting (2016)

This small oil painting of 15 x 30 cm is a preliminary study for the painting Resistance increases – Acceptance releases. It shows a hand with a handcuffed wrist coming in from under the canvas. The painting is in one reddish-brown colour mixed with white to create dark and light tones.

Station 9

Jesus meets the women of Jerusalem (Luke 23:27-31)
Although He Himself suffered much pain and personal humiliation, Jesus was not concerned about Himself, but about the lives and souls of those who were in danger of being lost forever because of the sins in their lives. We must ensure that our concern for ourselves does not take precedence over our dedication and obedience to the greater good.
A holistic approach to the world in which we live means that we try to see everything as an intertwined whole of facets and that what we do has comprehensive consequences.

Werk 13. Beeld piramide (2013)

Work 13. Piramid, Sculpture (2013)

The first shape you see in a pyramid is a triangle. Three in the Bible is the typological meaning of the promise.
The bottom of the pyramid is a square. The four in the Bible is the typological indication of the visible, tangible world.
The last form we encounter in the pyramid is the pyramid as a whole. A total of five planes and a form with five corners. So the pyramid is a pentagon. In the Bible the five is the typological indication for the invisible world, the mystery.

Werk 14. Zin – Acryl op doek

Work 14. Value, Acrylpainting (1997)

This painting I made at the art academy. It is one of my first paintings. It contains a portrait of my first relationship. A boy who was very partially sighted at the time and with whom I lived until I was 25 years old. Around that portrait I painted the following text:
We can indicate the meaning of everything we do, because it is part of a whole: life.
He inspired me to focus my work on multi-sensory perception of the world around us.

Station 10
Trust in ignorance

Jesus was crucified (Luke 23:33-47)
How horrible it must have been for Jesus’ neighbors to watch powerlessly as the nails were driven through His hands and feet into the wood and He would breathe His last breath in human form (Luke 23:44-46). They could not understand that this evil act of man was the preparation for the salvation of all who would believe in Christ. As far as we are concerned, “We do not know what is in store for us. Let us consider the much more comprehensive salvation and trust that things are going as they should be.

Work 15. Less visibility – more insight – Ceramics (2014)

In this ceramic bowl the text Less visibility more insight is scratched, above which the same text has been applied with ceramic dots in Braille.

Statie 11


Jesus promises His kingdom to the believing criminal (Luke 23:43)
The criminal who was crucified next to Jesus would enter paradise by grace through faith in Jesus Christ (Ephesians 2:8-9). Jesus told the criminal that he would be in paradise with him that day, because he had accepted the Son of God and believed in him. This is clearly an example of the truth that a man is saved by faith and grace and not by good deeds.
Do you recognize that you condemn yourself and others over and over again? That you get into the victim role and blame something or someone else?
Forgiveness of another or of yourself gives relief.

Werk 15. Minder zicht - meer inzicht – Keramiek (2014)
Werk 15. Minder zicht - meer inzicht – Keramiek (2014)

Work 16. In Ri, sculpture (2012)

The bust of serpentines on a metal pin can lead to Christ, but also to the misdemeanors who will be crossed to Jesus. In 2016 I wrote the following text while I was in Marmaris by the sea:

The sound of waves sloshing around me swallowed me up.
Terrifying for its infinity.
But I may reassure myself with this infinite proof of this source of life.
As long as there is air, light, water and a breeding ground, there is life.
The sound makes me realize that I don’t have to fear an end.
Yet it oppresses me and I leave the sound.

Werk 17. Vitruviusvrouw – Olieverf op canvas in de ruimte (2004)
Werk 17. Vitruviusvrouw – Olieverf op canvas in de ruimte (2004)
Werk 17. Vitruviusvrouw – Olieverf op canvas in de ruimte (2004)

Work 17. Vitruvius woman – Oil on canvas in space (2004)

A canvas of 50 x 70 cm that has been removed from the frame, so that it can be hung in the room so that the back can also be seen.
On one side a woman is painted in a Vitruvius position. That means standing up with the arms and legs spread. The Man of Vitruvius is a system of body proportions, in which a human figure is depicted in this way.
The woman is painted in soft orange shades of grey with oil paint. The oil has pulled the paint through the canvas and on the back of the canvas you can see a vague form of the woman. This refers to the canvas with which Veronica wipes the face of Jesus in the traditional story while he was carrying his cross up Calvary.

Werk 14. Zin – Acryl op doek

Work 18. Grace – Acrylic and ink on canvas in frame (2006)

In this painting of 80 x 60 cm there are 7 naked female figures in different poses painted with acrylic paint, over a background of ink stains. The ink stains are transparent brown with an orange undertone. The same orange colour can be seen in the figures.
On the left the woman stands with her back to the side. So you see her from the side. She stretches her arms out of the air. To the right, a woman is sitting on her knees with her face at the level of the first woman’s belly. To the right of it stands the largest woman depicted. She is depicted diagonally from behind. Her left arm is up and bent with the hand on the head. In the middle of the painting there is a small opening. To the right of it, two figures are depicted underneath each other. The lower one is sitting in a tailor’s seat and above that you can see a woman bent over from behind. So you only see legs and in between a piece of the right arm and the forehead. To the right of these two figures a woman is depicted from the front with her head bent and her arms crossed in front of her. The seventh figure is in the upper right corner. She is curved and depicted from the side. Her back is flush with the horizontal direction of the top of the painting and her legs are flush with the side of the painting. The head and breasts are hanging and the hands are at knee level against the legs.
With this openness I represent the vulnerability of mankind. Asking for mercy we are he or in this case she is.

Station 12

Jesus speaks from the cross with His mother and disciples (John 19:26-27)
Even at the time of His death, Jesus considered the needs of others more important than Himself. With affection, He gave the care of His mother in the hands of His beloved disciple John (John 19:27). His whole life, including His death, shows us that the needs of others are more important than what we ourselves need, subjecting everything to the perfect will of God. Getting satisfaction out of humility is characteristic of a life of faith.

Werk 19. Contrast – Serpentijn (2015)
Werk 19. Contrast – Serpentijn (2015)
Werk 19. Contrast – Serpentijn (2015)
Werk 19. Contrast – Serpentijn (2015)

Work 19. Contrast – Serpentine (2015)

Contrast is the difference between opposites, as with this image smooth and rough and round and sharp. If there are few or no contrasts, there are no differences and we cannot perceive anything. We need light to be able to do this. But we also need shadow to make a shape visible. For example, in addition to fine moments, there are difficult things in life that make us come to an understanding.

During an exhibition in 2019, a visitor accidentally pushed the sculpture over. I realized that I was more concerned with the man’s fear than with the broken image. The realisation that this fits in perfectly with the story made me decide to allow the sculpture to continue to exist in its new form.

Werk 20. Jezus met knielende vrouw – Acryl op linnen (2019)

Work 20. Jesus with kneeling woman – Acrylic on canvas (2019)

This painting is made on a black background. In the lower left corner a naked kneeling woman sits in the dark. She puts her hands together and holds them up, facing a Jesus figure who is standing in front of the light. The light shines a little on the woman’s right side, illuminating her contours. The rest catches shadow, but the body can still be seen in the dark.
The figure of Jesus is dressed in a wide white robe, so that there are many folds. He spreads his arms open and looks forward to the spectator of the painting. Not to the woman sitting on his right, in front of the viewer on his left. The garment brown from the black ground like the brown roots of a tree. The brown colour subtly turns into the white robe. The light behind the figure of Jesus is painted white and yellow.

Work 21. Taktila™ figure

I believe that the figure of Jesus represents the love that we carry, feel, and carry with us when we live our lives in a pure and sincere way.
The Passion of Jesus Christ is called Passion. Like Jesus, we all have our passion; our suffering and our passions. With me, the two are intertwined. I think that this duality does not exist separately either. For example, I have developed a colour system for blind people. The commercial part involved in helping people with this often feels like an ordeal to me. I put my soul, bliss and ability into it. The system is called Taktila and was born out of love and it can be used to make and translate beautiful things. It has been used to make this work of art. You can look at it by touch. Therefore it is nice not to know what it is and to be surprised by what you feel. When I write down the definition of passion, I come to a beautiful enumeration. I share this in the form of a poem.

Werk 21. Taktila™ figuur
Werk 21. Taktila™ figuur
Werk 21. Taktila™ figuur
Werk 21. Taktila™ figuur

Ik ben een groot verlangen
Ik ben grote liefde
Ik ben lijden
Ik ben hartstocht
Ik ben het lijdensverhaal van Christus
Ik ben liefde
Ik ben drift tot iets
Ik ben een sterk gevoel van liefde
Ik ben vurigheid
Ik ben ijver
Ik ben kleine schoonheid met een roeping
Ik ben overgave
Ik ben vuur

Station 13

Jesus dies on the cross (Luke 23:44-46)
At the moment of Jesus’ death, the veil of the Temple, which separated the people from the Holy of Holies, tore from the top to the bottom. This was terrifying for all the Jews who saw it happen. They did not know that this was a new beginning and indicated that from that moment on people no longer need to be separated from God because of sin, but can now ask for mercy for the forgiveness of our sins. The life and sacrificial death of Jesus have removed the sin barrier and made salvation by grace possible.

Werk 22. Taktila™ Jezus - Mixed media op houten paneel (2019)

Work 22. Taktila™ Jesus – Mixed media on panel (2019)

Taktila is a palpable colour system that I developed. It consists mainly of fabrics. This image of Jesus is made up of these fabrics that refer to the veil. Jesus extends his arms and a yellow round shape above his head stands in front of the halo. Above that lies a comforting hand. This hand can represent the hand of God or of someone else who makes this gesture. In front of the figure a candle is depicted, the flame of which is burning at the level of the heart. You can literally feel this Jesus. There is a judging card that is used to give blind people insight into the doctrine of colour and the feeling of colour.

Werk 22. Taktila™ Jezus - Mixed media op houten paneel (2019)
Werk 22. Taktila™ Jezus - Mixed media op houten paneel (2019)
Werk 22. Taktila™ Jezus - Mixed media op houten paneel (2019)
Werk 20. Jezus met knielende vrouw – Acryl op linnen (2019)

Work 23. Re-action – Serpentine (2014)

A worm-like shape splits a pointed shape in half. One half bends in one direction and the other in the other. This action causes a reaction. The worm as a totum animal stands for the courage to clearly see how things in the past have influenced your present life. This is necessary to let go of the old and pave the way for the new. The organic form stands for new growth.

Station 14

Jesus is placed in the grave (Luke 23:50-54)
When Jesus died and was taken from the cross, He was placed in a tomb by a man named Joseph (Luke 23:50-54). Joseph was also a member of the Sanhedrin, but had been opposed to the trial and crucifixion of Jesus. Joseph secretly believed that Jesus was the Messiah, but feared the consequences if he publicly confessed his faith (John 19:38). When Jesus died, Yosef went secretly to Pilate and asked for the body of Jesus, so that Jesus could be buried and his body could be brought down as the bread of life and was broken down by exposure to moisture. But not the whole grain of grain dies. Inside the core is life. As soon as the skin becomes soft and breaks, life can break through. When man is buried, our multidimensional Self stays in unity and is therefore not subject to time and the duality (life and death) as we know it. The Self is eternal, untouchable and unlimited in its possibilities.

Work 24. Stress relief – Serpentine (2012)

A figure is lying in a fetal position on a glass base. The bottom of the base is a mirror, in which you can see the bottom of the lying figure. The top of the figure seems to be relaxed, while in the mirror you can see a somewhat more compressed tense position. This explains the title. The fetal posture refers to birth, a new beginning

Werk 25. Akasha – Serpentijn (2018)

Work 25. Akasha – Serpentine (2018)

Akasha is an originally Hindu term for the universal library in which everything is stored and preserved; all events that have ever taken place, every emotion and every thought. I made an image inspired by this reassuring theme and wrote the following poem.

The tendency to save
To write
To shape
To hold
To share
Afraid of an end
Akasha reassures

Werk 25. Akasha – Serpentijn (2018)
Werk 25. Akasha – Serpentijn (2018)

Work 26. To the core – Video (2017)

Sand started as a layer of stone and became a boulder, a pebble and finally a grain. It takes time, but in the end you get to the heart of the matter. If sand is so small that it becomes clay, it will become stone again under pressure. On this video two hands rub through a layer of sand on a wooden plate. You can hear the sanding of the grains of sand and the sand takes on a different shape each time. I have written the following text:

The origin of sand determines its composition.
The path that sand has travelled gives it its external characteristics.
Sand as a metaphor for the individual.
At its core, this matter is unchangeable and can still have very different external characteristics.
If we roam through a large mountain of sand, we arrive at the core of that one grain.

Summary in a triptych.

In the left canvas of 160 x 100 cm references are made to all 14 stations of the Stations of the Cross.
The middle oil painting of 50 x 100 cm depicts the healing intermediate phase.
On the right canvas of 160 x 100 cm I painted Enlightenment. I will describe the works.

Mijn kruisweg

Work 27. The Stations of the Cross, Oilpainting (2018)

Spread over a linen canvas of 100 cm high by 160 cm wide, 17 human figures have been painted in oil paint. The background is predominantly dark blue. This makes the painting look heavy in the first instance. Together with the confronting elements in the work this refers to the dark side or the resistance within ourselves. If you look further, there are also symbolic references to illuminating aspects in the painting. The entire painting therefore refers to the first station.

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The figures depict people in different poses referring to the Stations of the Cross. In the upper left corner are three female figures with their knees pulled up and their arms wrapped around their legs. The head is bent so that the long reddish-brown hairs fall over the face. The three female figures are almost identical. Due to the free style of painting, they differ slightly from each other. The repetition of these three women refers to the fourth station, the denial of his friendship with Jesus by Peter, for fear of the consequences.

Above the third woman, about in the middle of the painting, a large face looks up. The face of this face is from below. The face could refer to the Divine that is present in everything. We could trust in this universal power and trust our intuition that is part of it. After all, we do not know what is in store for us and can only act in good faith, trusting that everything will then be all right. This is what Stations 10 and 11 are about.

In the lower right corner of the large face, two figures are sitting next to each other, bent over. One is hiding behind the other, holding two ropes to which a woman is tied to her wrists. This female figure is depicted among these men as a Christa, the female servant of Christ. My ego often thinks it knows what is good for someone else. Fortunately, I realize more and more that I don’t have to prove anything and I can let others go, so that they can follow their way in their own way and at their own pace. The two figures are holding a female figure firmly, who can do nothing but let go of control. A slogan I came up with in a previous study on this subject is ‘I’m releasing the warrior in me to release yours’ (I let go of the warrior in me to release yours). I think this is what the fifth station is about. Behind the woman shines a big light that refers to the lighting you experience when you let go of control.

In the upper right corner there is a Jesus figure who gives communion to a woman holding her hands up in prayer pose. Behind these two figures bright yellow light shines. Like two aureoles merging into one another. The humble attitude of the woman towards the figure of Christ refers to the gratitude and sacrifice for the good that is written about in station 12.

I have now described the upper half of the painting and am now going to the left again. The first of the three female figures is depicted in front of the head of a large painted female figure with a deep cleavage. You could also see it if that is the female figure in the upper left corner of the big woman’s head. This large female figure stretches her arm with an open hand. An open hand with the palm pointing upwards means: I am not a threat. It is reminiscent of the submissive hand of a street beggar and in fact it means the same thing.
The partly naked bosom refers to the glorification that the third station is about. Proud and
greed can cause us to act at the expense of others.
If you look closely, there seems to be an eye in the big open hand.
The hand points to two vague figures. One of the figures is on his knees and bends over the other figure lying on his back on the ground. The figure is tied with wrists, ankles and neck and therefore powerless. This refers to the abuse of power and oppression that is written about in the eighth station. The figures are vaguely painted and not immediately visible at first glance. This refers to the sinking of Judas after he had betrayed Jesus in the second station.

On the mount of olives, Jesus says to God: ‘I will drink your cup with poison. Thy will be done. On the right, next to the open hand and the two figures described above, is a large golden yellow cup from which a red liquid flows. This liquid can refer to the blood of Jesus. The cup of wine that we share with each other symbolizes the blood of the New Covenant that was poured out for us for the forgiveness of sins. The 13th station is about salvation. About a new beginning after an agony thanks to forgiveness, surrender and love.

In the cup is a long-haired figure with arms on the side. This figure comes from halfway up the back above the cup. The rest of the body is not visible because it disappears into the full cup. Because the figure is depicted from behind, it is not clear whether it is a man or a woman. The wrists are tied to the wrists of the three figures that represent the denial of station 3.
The figure in the cup depicted with the back refers to the flogging of Jesus. His martyrdom and thus sacrifice for a greater purpose. This is what station 6 is about.

To the right of the cup and underneath the woman for the light of the fifth station, Jesus is painted carrying his cross. You could say that he bears his responsibility.

I have once again depicted this theme in this painting by having two female figures form an Andreas cross together. They form an Andreas cross like a traffic sign in front of a railway line. The two figures are therefore jointly responsible. Above them is a figure with its back turned to us and its hands on top of its head. The figure sits with her wrists tied to the ankles of the women who make up the Andreas Cross. All three of these figures are also bound to the painted Jesus figures. The longer you look at the painting, the more you are led from one figure to another by ropes. This symbolizes that everything is connected with each other. Everything we do affects our surroundings. What we do to another, we do to ourselves. What we do to ourselves, we do to another. Station nine is about this holistic connection.
The Andreas Cross is a symbol of Divine power. The letter X, also called Chi, stands for the spiritual energy that is part of everything that exists.
Station seven is about taking responsibility. Jesus reveals that this is not a choice. This means that we must be prepared to renounce our own will and our ambitions when we are serving a higher purpose.

I have noticed that man’s psyche has changed relatively little over the centuries. This centuries-old story is still recognizable. It shows that we, as humans, are always going through the same psychological development.
Yet from almost nothing, namely the natural elements earth, fire, water and air, we have been able to create everything that we have achieved so far. Mankind has acquired an amazingly unimaginable ability.
Where this power comes from is scientifically inexplicable for the time being and can be called God. We humans then possess Divine powers. Maybe that’s why it says in the Bible: ‘God created man in his image’. I believe that the core of life is eternal, untouchable and unlimited in all its possibilities. This eternity is about station fourteen.

Werk 28. Heilzame tussenfase

Work 28. Beneficial intermediate phase, Oilpainting (2018)

A female figure sits contemplating on a dark background. Her head rests on her left hand, in front of the spectator on the right. Her left elbow rests on her left knee, in front of the spectator on the right. The light shines behind her. This is in the upper left corner of the painting. This figure is looking for her source between the duality of the Stations of the Cross and enlightenment. I wrote the following text:

The source
In search of the source and the realisation that it is always there.
In search of myself it is not a matter of changing, but of seeing.
I have been there and always have been.
I can fall back on this at any time when I’m searching again.

Werk 29. Verlichting

Work 29. Enlightenment, Oilpainting (2019)

While I was making this painting I came to the conclusion that literally, without the dark, the light will not come into its own.
That is why dark blue surfaces have been applied on a bright yellowish-white basis. The landscape is quite abstract. In the lower left corner you could see the dark shape as a rock on which a silhouette of a small woman is depicted with her arms spread wide. She is facing a Divine figure who is on the right in the yellow-white space with his arms wide open downwards. The silhouette of the woman is dark and on the edge you can see some lights of the Divine figure that is painted in the light. In the upper right corner there is another vague blue shape. The whole is painted very fluently with offshoots that create shapes in which you can see something yourself… or not. In a dark blue spot at the top of the painting I wrote a text with transparent relief letters. Even if you can see well, you have to make an effort to be able to read it. The text is called Accepting the resistance and it says:

In search of what is already there
Afraid of what’s not there
A blind spot
In battle in search of enlightenment
With eyes closed
Turned inwards
because that’s where the light burns.

Werk 29. Verlichting

Work 30. Portrait of Jesus – bister and oil on canvas (2016)

On a small canvas of 30 x 15 cm a portrait of Jesus is painted fluently with bister and oilpaint.

Werk 29. Verlichting

Work 31. Machu Picchu – Watercolour (2018)

This framed watercolor shows a landscape inspired by Machu Pikchu, a city of the Incas in Peru. It is believed that Machu Picchu was a country retreat for kings and other high-ranking figures. At the top of the landscape, to the right of the middle, a mountain top has been painted. To the left of it is a lower view of a face. Under the mountain, at a third height of the painting, a Jesus figure is carrying his cross. In the lower left corner there is a female figure who clamps her legs together with her arms. The head is bent and leans on the knees. The three human figures form a triangular composition, especially in the left-hand side of the landscape. To the right of the Jesus figure carrying his cross is a void in the painting. This could be interpreted as the past that He leaves behind creating some space.