When I started, it was bunkers: large massive constructions that excel in protecting their inner spaces. In hindsight, it was this protection I was looking for, but in hindsight only.
Then the demarcations entered. The bunkers disappeared and were substituted by red and white barriers; roadblocks that exposed the spaces beyond.  These spaces were not to be entered; in the end I did.

‘Paintings of emptiness. Large fields with remainders of demarcations, erased and destroyed.’
The paintings that followed became darker and darker, which eventually resulted in a black painting with a scratch. 
End of a period.

The blackboard series was next: endless scratches on large dark grey canvasses. 
Exposing through ritual operations. Protection no longer needed. 
By now it will have become clear that I work using themes.
This imperative way of painting in the end became restricting.
‘I think of the impressionistic period, this sound of watersprings, around 1985. Light, lucidity, flowing, sometimes containing figures, culminating in an almost featureless white canvas, dissolved in a blank painting. Exit.’
‘Earth I want, dark paintings of dark mountains.’ (Mount analogue, after the novel by René Daumal).
After the gestalt series the first Madonna appeared. 

Today I’m looking at a continuous change inside me. A dream that shows several aspects of me. Carefully, very carefully, because the need for protection remains.
At the time of painting I don’t know what it is about: only afterwards, sometimes a long time later, I’m able to interpret what I painted.
Faces, demarcations, fields, different elements juxtaposed. They are waiting, waiting for meaning.