He paints parts of the body, without a head and therefore without a face, in order to arrive at the essence of the body. He photographs his models in his studio. He makes cut-outs from those photos that form the basis for the paintings.
The cloths do not consist of a traditional white cloth, but of damask woven fabrics or unprocessed linen. These are stretched and prepared so that you can paint on them.
The cloth is the skin, as a sculptor uses the grain of the wood or the structure of the stone, he uses the fabric. Textile plays an important role in his life. His father was already behind the loom as a twelve-year-old boy, his mother was a tailor and he himself visited numerous textile companies all over the world.
He wants to show both the material and the painting, whereby two worlds come together. Both the fabric and the painting are autonomous, but they also form a whole. He consciously uses oil paint and old techniques, as a reference to the origins of our art and to maintain the tradition of the nude in art. He still uses materials such as white lead, hare hide glue, damar resin, stand oil and turpentine.