Example
ST ODOLPHUS, 2013 <br> 30×69 cm, tempera on paper ECLIPSE, 2011 <br> 92×110 cm, oil on canvas GALLERY, 2013 <br> 20×31 cm, tempera on paper MODEL, 2012 <br> 23×24 cm, tempera on paper PAPER, 2013 <br> 30×42 cm, tempera on paper BAAVOKERK, 2013 <br> 35×50 cm, tempera on paper EXPOSITION, 2007 <br> 45×45 cm, tempera on paper IHLOW, 2010 <br> 50×18 cm, tempera on paper ICONOCLASM, 2012 <br> 50×40 cm, tempera on paper SOUND, 2009 <br> 36×42 cm, tempera on paper SAENREDAM, <br> 30×39 cm, tempera on paper DOG, 2013 <br> 19×70 cm, tempera on paper UNTITLED, 2013 </br> 25×50 cm, tempera on paper UNTITLED, 2013 </br> 43×23 cm, tempera on paper EXPLOSION IN THE CATHEDRA, 2013 </br> 50×41 cm, tempera on paper EXPOSITION, 2013 </br> 100×70 cm, oil on canvas
Direct historical parallel to those works are the seventeenth-century pictures by Dutch, “perspective painters”, among them Pieter Saenredama mainly, whose small, muted paintings of deserted church interiors strikes with its narrow colour and the mood of absence and transcendence. Most of these pictures were victims of subsequent interventions. Saenredam painted them mainly for documentation, but later buyers are often commissioned by other painters to overpaint people to spice up a narrativity. During renovations overcoats and anecdotes are usually removing, and the temples regain their monumentality and almost abstract minimalism. The absence of a man makes that action lose its meaning, and the issue is highlighting the spatial extent, the relationship between the objects, and the space in which they are placed. I try to focus an attention of the viewer on the visual contemplation, not dispersing it to the effort to read and define the content.