The most important step in the creation of my visual art is the conception of every sculpture or installation. The process usually starts from a trivial, insignificant and unnoticed object in our daily, urban surroundings. Why do I decide to give exactly that shape a new gestalt? I want to give meaning to the meaningless. Through a language of images, I attempt to tell a layered story. For each work, I attentively study the realistic scale ratio and the factor of diminution or magnification. In this study, I always look for a dialogue and/or confrontation between the object and the spectator in the work’s specific location. In addition to the scale ratio, I also give great importance to my choice of materials. The materials form the ‘skin’ of the sculpture and, in their own way, aid in translating its contents (ref. tactilism). I strongly prefer to work in situ, with the space functioning as a mould for my sculptures and installations. The location isn’t just a source of inspiration, but the raison d’être of my work. When I move an installation into a new place, such as the clean white cubes of an art gallery, it always results in a search  for a way to present my work the right way without losing track of the original intentions. In those situations, I often work with evidence of processes that took place elsewhere: by showing a part of the installation, a picture, a print or through a use of scenography that preserves the meaning of the sculpture within its new space. Still, I don’t believe a sculpture has one unambiguous meaning. I don’t want to impose anything on the spectators, leaving it to them to assign meaning to the relations between different sculptures, starting from their own experience.  Work processes ref. ‘BOKSITI’ ‘BOKSITI’ is a series of seven sculptures. The constructions are built out of stacked boxes, all equal in size and colour. In every one of these sculptures, these stacked boxes have been brought into a dialogue with their fragile red support. The boxes that have been used refer to repeatedly moving to new temporary spaces, where the constant cycle of arriving and leaving again makes packing more important than unpacking. The supports have a reddish orange colour that refers to the typical colour code of the IBIS and 43STYLES hotels where Nel has spent many nights. The pointy triangular shapes of the supports are planted into the ground at an angle, trying in vain to anchor themselves into the space or the landscape. All arrow icons on the boxes have consciously been aimed downwards. They point at the soil, much like the red triangular shapes of the support want to drill themselves into the ground. The totality of each sculpture in the ‘BOKSITI’ series always refers to a larger construction, be it a stretcher, an apartment block, a chair or a letterbox. Small details, like the addition or cutting away of shapes (an opening for a window, insight into a bunker or chimney, the slot of a letterbox) give the sculpture an extra meaning and add a humorous layer.The sculptures have been photographed in different locations. The space is an inherent aspect of the sculpture – or the sculpture becomes an inherent aspect of the space. next page > Page overview Work methods & texts CV Contact Exhibition views Performances Studio