The technique I use is oil painting on panel. The panels are first carefully prepared with gesso (plaster based primer) and sanded. I do this a couple of times. The result is a silky smooth surface that is ready for the initial setup.

I set the sketch of the composition with thin pencil lines. Thin pencil lines are very important. Strong and accentuated pencil lines can end up being seen through the paint coats, and it takes a lot of time and paint to make them invisible.

The first draft is based on heavily diluted paint to determine the light and dark areas. After letting the panel dry for a few days, I apply a second layer. This time the paint is a bit thicker and the painting becomes more precise. I paint wet on wet as much as I can to get beautiful shadows and an elegant transition between lines.

This process is repeated layer after layer. The interpretation becomes finer and the colours more intense. It takes between five and seven layers, depending on the subject before it is finished. For a small painting takes this process about a month including drying times.

I usually hang up the painting already before it’s almost finished. This is handy for the drying process, for observing it well, for making corrections where necessary and for dotting the i’s and crossing the t’s. The final phase is to glace it and later eventually fixing it with varnish. Applying the varnish happens only after the paint is completely dry, usually a year later.


The topics I choose are often simple and recognisable. I try not to cram all painting techniques but concentrate more on one or two objects in all their beauty. For example the painting of a bowl. Before I choose the subject I have endlessly thought about (with the critical eye of an industrial designer) to reach the ultimate expression of beauty.

Imagine, just like a simple bowl that needs hundreds of years to reach its state-of-the art recognition.

I try to capture these subjects in my creations and deliberately keep the backgrounds and (almost graphical) surfaces as clean and simple as possible on a back burner. The rear and surface colours are modest compared to the main subject, but are in such harmony that it becomes a whole concept and the subject lives its own life. In this way I do not expect you to stare at my painting but to a bowl you are about to remove from it.