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ille (2), 2001, fotopolymer etching

Detailed studies of the face also form the core of my graphic work. In 1994, I was engaged by the Rotterdam Center for Visual Arts to explore the technique of heliogravure. Again taking polaroids as my starting-point, I cut the pictures in such a manner that new compositions emerged, together with new meanings. in technical terms, I obtained the same soft �transitions� in heliogravure that I seek to achieve in my paintings, a kind of latter-day �sfumato�. These heliogravures complement my paintings in important ways.Late in 1996, I extended my exploration of facial details through the use of yet another medium. With a video-camera connected to a computer, I filmed myself in the same �random� manner as I do shooting polaroids. Having first turned them into �stills�, I proceeded by reworking the videos on the computer, taking great care that the resulting images were recognizable my �own�, blending into harmonious unity with the rest of my work. A selection of these stills have been compiled into two small books, �Mouth� and �Eye�.Paradoxically, these developments enabled me to embark on large format painting, in which certain aspects, such as �hair�, are especially elaborated. The detail thus resulted in monumental work.