In my practice, I accept two types of artwork: one for the wall, the other for space. By the early 1990s, their forms had emerged as a crystallization of the most basic conditions of painting and sculpture: hanging and surface, standing and volume. Reduced to these essentials, they are neither evocative nor authoritative; they express nothing of consequence. Only when these types enter into relation with a cultural fragment does a situation arise, shaped by contextual displacement — from which a new narrative becomes possible.

Harmen  Brethouwer