<  statements simulated and real change (continued) ‘Therefore, it is only logical that we have a desire for different kinds of knowledge, like one can find in empirical scientific models or in more intuitive and not precisely explainable artworks. And, it is thus quite natural that in art change is frequently studied. In the sculptures of George Rickey we can perceive a clear process of change from a kind of stability to a disruption of stability back to a certain (temporary) stability. In my own art the tension between real and simulated changes are essential. Like Kandinsky already discovered, a curved line drawn behind a point will bring this point optically into motion and will simulate a change of position of this point. In my work I apply this by using curved steel strips and curled coloured wire. Spheres offer a focus of optical rest. Colours, shadows and other optical effects are applied in a fashion, that they will enhance the contrasts and thus will contribute to the simulated dynamics. In Japan I discovered a fascinating analogy between my sculptures and “sosho” (wild grass) - calligraphy. This emerged out of Zen-buddhism and, although they concern real poems, are also unreadable to the Japanese. As in Zen it is not about the words themselves, but about the meaning behind the words evoked by the strong calligraphic sign. In analogy I understand the real meaning of art: it is not about the presented image, there is no literary meaning one can read in the artwork, but the real meaning is “behind” the visible image, which becomes accessible by what we see. The visual value, the beauty of the artwork, therefore, are certainly important. Doubting all dogmata I have never been convinced about the refusal of illusion in abstract art.’

images statements (continued) biography ‘computer science does not speak anymore of “illusion”, but of "simulation"’