During 2009 and now I have developed and thought various workshops and seminars for theaters, museums and schools. My strength lays with workshops that last more than 2 days because there one can really explore a subject and develop a more indept work with the participants. I have worked with people from 3 till 80 years old and love the quality each of them bring in.

IETM, Kulturstiftung des Bundes,, Donostia Cultural Capital 2016, Urbane Kunst Ruhr, Motel Spatie, ICAF (International Community Art Festival), Theatre Film Festival Düsseldorf, Pottfiction, Kosice Cultural Capital 2013, Theatre De Lindenberg, Het Langhuis, Deutsches Theater Berlin, Helios Theater, Hellwach festival, New-arts, NAX, Consol Theatre, Theatre Kohlenpott, Ruhr 2010, Isis Art, Stichting Beleven, Stichting Akkoord!, Slim Opgewekt, Cultuurpad and Kunstbedrijf Arnhem.

Workshops selection:

Live-video theater workshop, public/privat exploring the city, Murals, Stopmotion workshop, Zooicity, Stadtgefaehrten for The bundes Kultur stiftung, Construction workshop Ruhr 2010, magazine, stempels, sjablonen en stickers maken, new media, etc…

Murals/Urban interventions
Confetti Schuytgraaf
Donostia Cultural Capital 2016
Slim opgewekt
Kosice Cultural Capital 2014
Sonsbeek art education
Pottfiction 2016 (Urbane Künste Ruhr) Hagen
Young Energies
Stencil Applications

Theatre / Live-video workshops
Theatre Film Festival Düsseldorf
Hellwach Theater Festival
Deutsches Theater
Pottfiction 2014 Dortmund
Pottfiction 2010 Herne
Pottfiction 2009 Gelsenkirchen

Spatie Indoctrinatie
MOBA childrens art
Magazine 2013 2015
Collaboration in the Air

Festival Registrations
Art in The classroom
Tekeningen “Jouw stad” gemaakt door kinderen van de J.F.Kennedy school in Arnhem
Les traject “collages” op basis school Panta Rei in Baarlo
Les traject “in de dierentuin” op basis school de Koperwiek in Venlo
Maak je eigen Pop-up boek op basis school Panta Rei in Baarlo
Fab Lab Arnhem


POWERPLANT 2002 — 2011.

Humour as a strategy.

From 2002 until 2011 I worked as a scriptwriter, performer and set builder in a collaboration called ‘Powerplant’, with artist K. Burger. We created live-cinema performances. This type of performance consists of three elements: a film projection, a text projection and an installation with performers inside and around it. The live film is being recorded inside the installation that functions as a smaller scaled film setting. The installation is positioned just as central as the film projection, so that the audience can look at both elements and see how the live film is being created. The text projection is placed next to the film projection. (Instead of looking at the images of the film projection, it is also a possibility to read your way through the performance.)The films are accompanied by sound tracks, that are made by composers or musicians with whom a temporary collaboration is formed. Due to the nature of the work, which inhabited a collapsing distance between high and low culture, humour became a strategy.  We therefore look back upon performing in a great variety of venues, festivals and galleries, thus ranging from the Van Abbe Museum, (Eindhoven) Kunsthuis Syb, (Beetsterzwaag) to the Gogbot Festival, (Enschede). We liked to think of Powerplant taking a heterotopic position regarding the institutional art environment in the Netherlands.

Paint what you see, or what is coming.

According to Manet’s quote ‘To be of one’s own time, and paint what one sees,’ Powerplant created post-modern film-assemblages, based on (popular) media-input. In our fictional narratives we focused on today’s consumerism in all of its visual abundance, and the miasmic contamination of the global collective fantasy fed by popular media myths. Idiosyncratic media-figures, like for example Monica Lewinsky, Michael Jackson or the former politician Berlusconi, were taken out of their social zone and context and placed in a setting that was not theirs. These new contexts however, usually carried elements of making the protagonists go through a modern day catharsis by conducting excessive consumerism or exploitation of anything immanent. We didn’t only want to paint what we saw, but especially what we thought was coming. The scripts expressed possible hypotheses (concepts that are not yet verified but that if true would explain certain facts or phenomena) about the future of our surroundings. (These scenarios for the future did not have any connection to science fiction, although we did use robot characters in some of the performances.) Our sets represented new habitats like ‘Outlet Land’ (2011) that showed an ecology as a labyrinth constructed only out of Outlet stores. These sets surrounded our characters like a ghost, and through these displacement effects, alternative, prophetic realities became visible.

Styrofoam’s inertia.

The installations in which these stories took place, were most often built out of chemically constructed, low-cost materials such as plastics and Styrofoam. Powerplant’s aim was to transform the realm of reproduction, (with mass production being a significant sign of our time,) into work that as a whole, was completely irreproducible. Although we mostly worked with material that had lost all significance in terms of monetary value or functionality, its inertia was turned into an ambiguous basis material for our installations.

How to solidify the dust?

However, within the context of Powerplant mirroring excessive consumerism, we eventually felt that we couldn’t conquer the cascade of visual details in its incongruent totality. We couldn’t solidify the dust. In 2011 we decided to end Powerplant.