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Industrial materials such as plastic, acrylic polymer emulsion, epoxy, resin, wax and PVC form the substance of these small monochrome paintings. 
The materials are mostly transparent and it is possible to apply several layers of a substance. Thus volume develops. Transparency originates when 
the various see-through layers are applied over each other and the first layers remain visible. This transparency however also embraces a certain 
density precisely by being worked layer over layer (transparency-density). There are various degrees of translucency, dependent on the number of 
layers and the carrier used. It can be seen how a PVC carrier shows a different transparency-density than a carrier of, for example, cotton. A third 
consequence of working layer upon layer is that the work gains depth. The surface reacts vividly to various sorts of illumination, or to the light that is
present in the space where the work is shown: shimmer and gloss are a result of reflection. The naked eye can best serve as recorder, because the
eye effortlessly registers changes of light on the work to the millimeter -every time the viewer moves. The work is connected to classic art concepts 
such as light and perspective: how does one create light, how does one render light. Contrast of light and shade. Volume that exists through working
layer upon layer, degenerates to perspective, visible because of the depth-working of the transparent substance. The space and the illumination give
three dimensionality to the work. The painting in the space leads to questions such as: how does a painting relate to the wall, the room, the architecture?
The dialogue between space and painting forms a fascinating process.