'Eggs' (2024) 50x50cm. Acrylics, crayons and pencil on canvas.
'You should really brush in circles' (2024) 30x40cm. Acrylics, crayons, oil pastels and pencil on canvas.
'Grumpy on the chair' (2024) 30x40cm. Acrylics and pencil on canvas.
'Camcorder Looking' (2023) 50x40cm. Unicum on forex.
Applesauce
The photoseries 'Applesauce' was first shown during Unfair23, an art fair in Amsterdam for upcoming artists.
The title stems from a metaphor to describe the art in relation to the viewer. How it's comparable to a bowl of applesauce with a medicine hidden in it. The medicine in this story is the meaning and the intention behind the art. The applesauce is the art in it's (visual) experience.
Applesauce can be sweet, sour, slimy, liked or hated. Either way, its exterior can conceal what the artist tries to express. All artists have intentions, even subconsciously.
I find it hard to know how much of these intentions I should reveal as artist and how much of it I should leave unsaid. To let the applesauce be enjoyed and the medicine swallowed without knowing.
The series is an experiment on this metaphor, on the dreamworld, subconsciousness and my own interior thinking.
'Camcorder Smiling' (2023) 80x60cm. Unicum on forex.
'Show me where my body ends - one' (2023) 50x60cm. Unicum on forex.
'Show me where my body ends - two' (2023) 50x60cm. Unicum on forex.
'Lens pt.1 ' (2023) 30x30cm. Unicum on forex.
'Lens pt.2 ' (2023) 30x30cm. Unicum on forex.
'Boxcamera' (2023) 50x40cm. Unicum on forex.
'Road to Nowhere' (2023) 100x70cm. Unicum on forex.
'TURN AROUND!!' (2023) 50x60cm. Unicum on forex.
'Two-way street' (2023) 20x30cm. Unicum on forex.
'Who are you?' (2022) minutes seconds. In assignment to Sound& Portrait at the Waterford gallery, Ireland.
The birthmark on my left cheek
Filmstill from 'The bathtub scene'.
Who's on my cheek?
To view the scenes and the research click here.
The documentary film ‘Who’s on my Cheek?’is based on a research on birthmarks, in which the theory was investigated whether our birthmarks tell us more about our previous cause of death. The theory claims that the birthmarks would be on the same locations as the fatal wounds of our self in a past life.
Though normally skeptical about these stories, Morgan couldn’t help but be curious about her own cause of death, since she has a large birthmark on her face that covers the entirety of her left cheek. It made her wonder, if true, what did her past self do? Through the many sides to reincarnation and skin (past-life regression therapists, telephone psychics, skin specialists, others with marks) and her own experiences with the mark, she tries to find out more about her new identity.
Something that felt like her own specific characteristic, suddenly felt like someone else’s.
'Installation for the Fuckmilk scene and trailer of Who's on my Cheek?' (2021) Greenlights expo, Groningen.
'The Artisn't ' (2020) Video of 1 minute 33 seconds.
'SEALED' (2020) online exhibition during COVID-19.
'When miles turned to kilometers' (2020) photoseries in SEALED. Reflection on distance when moving continents.
'Pigmented' (2019) photoseries of silkscreened set-up. Reflection on the birthmark on my cheek and camouflage.
'Tietenvrouwtje grew old' (2019) circa 1meter65cm. Epoxy and foam. Enlarged recreation of my 4-year-old self's artpiece
'Tietenvrouwtje' (2004) circa 10cm. Bronze. Inspiration source for 'Tietenvrouwtje grew old'.
'Dirtcheek' (2019) 20 seconds. Video.
