At the same time I was working in my white line paintings, I did a lot of ink drawings. Obviously there was a strong connection between both, which at that time evolved from a pure silhouette to a white line silhouette.
"Red Forest" (ink on paper, 50 x 70 cm).
During a holiday in the South of France I brought along the latest translation of “La Divina Commedia” by Dante. And the temperature (it was hot), was exactly right to create a visual interpretation of the Inferno, except for the fact that I placed Dante's story in a modern day subway. Taking the train to Hell, you could say.
So instead that the Roman poet Virgil showed Dante a path thru hell, it was Dante who showed me that same way as he did before with Virgil.
Canto XVIII: “Look, he answered, you want to go that way?"
Canto XVIII: “A dense stream of travelers moving in opposite directions."
Canto XIX: “I agreed to take a detour to avoid Malebolge Station."
Also the white line concept was very well suited for animation, like in "Adam & Eve".
“Cornfields” (acrylic & oil on artificial fur, 300 x 1000 cm).
That year I was presented with the mother of all challenges. I got the assignment to make a work for the contract room for companies inside a converted ice factory. So I decided to make my biggest fur painting yet. And I pulled it off.
Hell of a work, though!
Another set & poster design, this time for the play "Martino".
"Martino" was roughly based upon the dysfunctional family running the diner carrying that same name.
The concept here was simple, it was a cage.
A cage constructed as a diner with walls made out of several layers of white safety chains, each string about six meters high, at a grand total of 13 km chains.
The idea was that the actors could appear and disappear into the wall as they pleased.
All in all it was a good time for me as an artist.