My work is very versatile and consists mainly of drawings, collages, assemblages, and spatial work.
The human figures and identity are mostly the subject of my work, portraits are a continuous theme.
I mostly creates large, drawn collages/cut out figures and portraits. The inspiration comes from romans, historical events and travelling. I`m drawing often mise en scènes and portraits.
I recently made an installation in Museum Veere (2022) from two panels made of poplar wood: a drawn collage with Mary Stuart, the daugther of the Scottish king James de First as a resource of inspiration. In 1444, she married Wolfert van Borssele, she was 14 years old when it happened. It was normal in that generation for girls to marry very young (and the reason mainly being financial win).
My work in the museum shows Mary`s fear of drowning, flood disasters and the unknown about the stranger and his family in the so called `Lowlands`that flooded in 1422.
In 2020, I made a series of works: çut-outs (a term used by Henri Matisse and Jonathan Borofsky in the 80`s). Cutting into paper or other materials, is always a pleasure to me. It creates this illusion of space and results into a depth effect. The intension, with these cut-outs, is to make an installation out of them.
In my most recent work for the exhibition in Museum Veere I made an`installation` with cut-out drawings (lasered).
In the period of 2015-2018, my partner Dolph Kessler (documentary photographer, www.dolphkessler.nl) and I worked on a drawing project around the Amelander whaler Hidde Dirks Kat who in 1777, shipwrecked at the coast of Greenland. (Ameland is an island). His crew and him were resuesd by the Inuit. In his diary, he writes kindly about the people (Inuit) who saved him.
During this project, I expanded the theme to the whole Arctic world, a place I`ve visited multiple times.
The inspiration for another project is the Dutch book `The prophets of the Eternity fjord`by Kim Leine. This book consists of a series with life-sized drawings: a procession of women Inuits and other kinds of people,they met Danish missionaries. Through these encounters/confrontations, the isolation in which they lived in, has gradually been lifted.
These series of big figures was shown in 2019 in the theatre `De Lawei`in Drachten, Netherlands, with the title: `At home in the cold`.
The theme is about the travels I made to Arctic places: Alaska (2009), Iceland (2012) and Greenland (2015, 2018 and 2019) and in 2006 I went to Antartica. The place is also known as the land of the so called `midnight sun` since Antarctica is in the Arctic Circle for most part. The name `arctic`is a reference to the star signs the big bear and the little bear. Arctos is Greek for bear.
In 2017, I created a set of big drawings about iconic figures in Arctic landscapes like `The explorer` and `The Universal Soldier`. Extra focus went to the women the were significant fot the areas like Greenland Greenland and the North Pole.
At an exhibition on Ameland (November 2018, museum Swartwoude, Buren) during Arth Month Ameland, the theme was courageous women who have travelled to the North Pole and Greenland like Bernice Notenboom, Louise Arner Boyd and Barbara Hillary. There were more than live-sized.
In 2019 I made a project, specially for an Art route:`Into the wetlands` with Carole Witteveen, which existed of three big panels, drawings, and a live-sized statue of Seamus Heaney. This famous Irish poet wrote the poem `Digging`and `New Selected poems 1966-1989.`These poems were the inspiration for this project and, of course, special for me because I`m often in Ireland.
This is an interesting review of a large drawing of mine!
Review from the blog of villa Repubblika by Bertus Pieters following his visit to the Summerexhibition in the Gemeentemuseum in The Hague.
See in PROJECTS: ICONIC FIGURES 2015- 1017 / LOST IN THE LANDSCAPE`/ work on paper, 2011, 140 x 140 cm. Coll: Annety Werther, Amsterdam
In `Lost in the landscape, a drawing in a nice large format by Egbarta Veenhuizen, two-hare like creatures sit not exactly very `jauntily`in an landscape that also does not reallly look like a peaceful
`turnip garden`either - as in the familiar Dutch children`s song. The two large hares look like toys and appear wooden yet moveable and most definitely not cuddly. It is not clear if these wooden hares are of a sympathetic disposition or perhaps up to no good.
So much seems to be able to emanate from these uncanny creatures. This is emphasized by the way one of the hares bends over the small white bunny.
But its is not only the drawing itself that matters here. It is equally important how the picture is made,
how the story is told. In such a large drawing, where the white of the paper is so notably present, it is actually rather astonishing how many different drawing techniques have been used. Look at the robust way the contours of the hares have been drawn, how splendid and detailed the head of the sitting hare has been worked with the grey-blue pupil in the white of his eye and his quasi-smiling muzzle. Look at the strange rubbed out structures and the contours of the bending hare with the white bunny beneath him. But look also at the difference between the haystack-like surface around it and the beautiful deep perpective inclined towards the hills that lie behind it with the blue above as a final touch. The nice thing is that all of this happens quite unemphatically.
No stress is laid on the technique, but that technique is in fact present everywhere in the drawing and results in a wondrous whole.