1. Can you describe your work in five keywords?
I’m interested in situations which are undefined or vague. No clear directions. Where people will find themselves in between the good or bad, in between assembling or disassembling. I’m looking for that border area. Keywords, then I would have to say Architecture, the experience in a space and I’m somewhat of a material freak.

2. How does an idea come to mind?
My starting point is the space itself, its history. From there on the process evolves and I start working. And different situations may occur. For example a moment in a museum in Ireland. I walked by an exhibition room which at the time was closed to the public. They were changing a painting. This moment was not meant for an audience to perceive, but an in-between moment. Or when I visit a city, I find myself wondering about [it?]and especially building sites attract my attention because of the undefined nature of the activities that take place.

3. How do you make decisions?
Initially I think every decision is based on the visual side of the work, only later in the process these decisions gain meaning.

4. What do you hope to achieve, communicate or gain with your work?
Difficult. The open nature of my work, the possibility for the viewer to create his or her own experience. I don’t want to predominate their experience. That’s very important for me as a visual artist. Although this piece of work is mandatory and can be compelling, it again has two sides. Physically it is very compelling, the scent of hospital comes to mind. Notions such as illness, life, decay. You immediately start to wonder what’s going on.

5. Which work of art has made an impression on you?
Lets see. That would probably be Your Black Horizon* by Olafur Eliasson, although its not very recent. And For the Love of God** by Damien Hirst. In my opinion, not necessarily a good work, but it did turn the art world upside down. Bizarre how you cannot help but take notice of that.

6. Should an artist take a stand? And if so, what is your position?
No, I don’t think an artist should take a stand. I’m not sure if that’s relevant or not. I wouldn’t want to dictate to people and tell them what to think.

7. Do politics or war play a role in this work of art?
Not really, but you can’t escape issues like politics or war in this particular situation. You have to deal with a location like the bunker, but it doesn’t play a significant role in the work.

8. How did you experience the bunker?
The rooms are beautiful. Because there is so much rest material, I can’t help but wonder what has happened here. The idea you’re alone surrounded by 2 metre thick walls, underground, makes for a special experience. It’s a hiding place, a place of refuge yet highly oppressive. The feeling of conflict is also reflected in the work by the antiseptic air, which clears the air on the one hand, but on the other hand is strongly associated with sickness and danger.

9. To what extent do you take the viewer into account?
I don’t where it concerns how I place things, but you always need to be able to communicate what it is you want to communicate. Sometimes I go overboard, feel like adding too many props or ideas. Consequently, I loose track of my own concept. This is when I do take into account the role of the viewer.

10. Where would you like to show your work in the future?
In the Turbine Hall of Tate Modern, I think. That’s my very distant dream.