In other pieces, amongst others the larger works Underroom (2012) and Backstage (2012) (70x105 cm), the boundaries towards the darkness are still visible. A curtain, a wall. They captures the fragility of the boundary between inside and outside - a boundary that is completely deconstructed in Underroom, showing a room without a floor. Instead of a floor we see the stones and the dirt, ie what is normally under, outside, the house. The demarcation of safe and unsafe is revealed as mere prepositions, words, ideas, with no real bearing on reality.
Outer space, deep sea and the benevolent other
Outer space, deep sea and the benevolent other is a series of smaller drawings (ca 13x17 cm) that investigate the relationship to the unknown. The unknown takes, in these works, the shape of immense darkness, a void where the different areas of dark in the images blend into each other until the focus of the drawing is only visible as a light contour, a brief pause, before its disappeared/ succumbed.
The works attempt to befriend this darkness, with various degrees of success. As the void takes the shape of the sea at night, or depths under the surface where daylight can't reach, the alien of space appears in the shape of a fish. Unmoved, cold, unemotional eyes, impassive. This is the (benevolent) ultimate other, the other who we might meet in the deepest darkness where we are most vulnerable. A meeting that may just be a moment of seeing, appearing briefly in our line of view, and then moving on.