Coming from a small village in Groningen, how did your rural upbringing influence your decision to pursue art, especially after initially studying history?
Hard to say in hindsight. I think the reason I pursued art was partially because people told me I was good at drawing, as happens to a lot of people who end up being an illustrator. So it was a matter of luck I had teachers who motivated me to continue drawing. I think a lot of talent develops because the person developing it is desperate to be good at something and receive compliments for it, perhaps even to compensate for the lack of other skills. One teacher at elementary school I had when I was 10 or 11 was especially important; he used to be an artist, so I respected him a lot, and he was always specific about what he liked about my drawings.
In my teens I took drawing class at school and again I was lucky that it was taught by someone who was an artist himself. I was also happy to listen to him when he talked about art history, because it really came to life when he did. I pursued history first because that felt like the smarter choice, which is quite funny because it’s also a very uncertain direction. I didn’t manage to get the many battles, dates, kings and emperors in my head and failed the first few exams. Around Christmas, I decided that after having tried to do “the smart thing” and failed, I could move on to what I actually wanted, which was art academy. So to specifically answer the question I don’t think art was very prevalent in my upbringing because of the rural area I lived in, yet at the same time I was lucky that my father was very interested in classical music and my parents took me to museums with very traditional paintings a few times. So I think the little art that was around together with the encouragement from my teachers was just enough to interest me and introduce me to that world.
While you say you don’t consciously gravitate towards any specific themes, you often include human heads as central characters. What do you think draws you to this recurring motif, and what are these characters experiencing in your work?
What interests me most is what motivates people to do what they do – the things they believe in, and the role psychology plays in the development of such belief systems. To me, existence is a constant state of absurdity and I’m constantly trying to wrap my head around what is going on in other people’s heads. That’s probably why I also gravitate towards human heads or human features.
Your work often seems to be capturing strange or surreal moments. Where do you find inspiration for these unusual or dreamlike scenarios?
I think I just try to depict on paper how life feels to me, which has to do with my answer to the question above. It’s nice when you’re constantly struck by the absurdity of it all, to be able to show that to other people and see if it hits a spot for them as well. There’s usually never a literal meaning to those works, but it’s more of an intuitive response that’s attached to that feeling of absurdity or alienation.
You’ve shifted from working with the pencil to using Adobe Fresco on your iPad. How has this transition affected your creative process? Do you miss any elements of the traditional pencil method?
I’ve recently done a lot of editorial work, which means that deadlines are very tight. Because of that I’m constantly training myself to work faster and that’s where the iPad came in. Although my work is more serving and committed to the theme of newspaper articles because of this, I do feel like I can still translate these themes into my own visual language in such a way that my images are still my own. I was uncertain whether that was possible beforehand, so I’m quite glad about that. When it comes to mediums or ways for drawing, I slightly distrust the glorification of anything that’s traditional a bit. So I don’t miss the slow process of drawing with pencil that much, though I do still think it’s fun to pick up a pencil now and then. The traditional pencil has the quality of directness, there is immediacy to it that digital media don’t have.
Could you walk us through your typical creative process when approaching an editorial illustration? How do you go from concept to final piece?
When I receive an article I usually read and take notes. I often don’t actually come back to these notes, but I take them to be able to concentrate on the article and remember the main themes better. I ponder on the text for a bit to make sure I really understand what the main point is that the writer wants to make. Then I see if I immediately have associations or ideas, I sketch them down and then stop sketching for a bit. I look around to see if I can make more connections or visual associations, usually by looking around outside, in books or on Instagram. Sometimes that gives me new ideas to create new links to the topic. I see which ideas work out best and try to translate them to understandable sketches for the art director. If all goes well, they pick a sketch to go on with. Sometimes the sketch needs a few alterations. When we agree on the final sketch I finish it.
You recently decided to pursue illustration full-time. What motivated you to take this step, and how has the transition been for you so far?
Just like when I studied history, there was a ‘safer’ option that delayed me from pursuing illustration. When I graduated I got offered a job as a textile pattern designer, yet after a year my contract wasn’t extended. It felt a bit like when I quit history; I was disappointed that I couldn’t continue, but there was also a slight relief that this gave me the opportunity to see if I could pursue illustration full-time. Luckily I already had worked on some illustration assignments by that time, so I did have some experience and a portfolio. The reason why I wanted to pursue illustration is because within this field you constantly try to link your drawings to stories. I missed that narrative component when I was drawing patterns. I think the input of articles and stories is really interesting when drawing for an external party.
What have been the biggest challenges and rewards of working as a freelance illustrator? How do you maintain creative freedom while managing the business side of things?
It can be a challenge to always have enough assignments. It has been going quite well, but I still need a bit more stability to be comfortable. Of course it’s always hard to deal with the uncertainty of never knowing if an art director will approach you next week, or the week after that. Yet I also find it a bit thrilling, I have to admit. I’m never bored thanks to this.
When it comes to creative freedom, of course you have to make some concessions if you’re going to draw for newspapers or commercial parties. That’s part of the deal. What works is to try to be consistent in your way of drawing so potential clients understand which type of work you make. If you love to make a certain type of drawing and art directors see this, it’s more likely that they will ask you for assignments that require that type of image. For example, I get approached a lot to draw for articles that revolve around themes of psychology, pedagogy, philosophy, books or music. Even though these assignments are usually easier to finish, I also love it when I get articles with more challenging themes like economics, technology or medical topics. That gives my portfolio and my toolbox more diversity. To summarize, I always try to find the perfect spot between having the freedom I need and making concessions. Every now and then I have to make so many concessions that I’m not terribly proud of the drawing anymore, but then I’m just grateful for the money I earned. It’s a constant balancing act.
Your style has a distinct, even whimsical quality. How would you describe your visual language, and how has it evolved since you first began illustrating?
As mentioned I usually try to capture a bit of the absurdity that’s always part of life. Since I get bored quite quickly, I have a tendency to make images a bit more flashy and magical rather than to strive for visual realism. It can be a bit of an escape from the dullness of everyday life and a good way to depict more abstract themes, as I’m also an abstract thinker. Sufficient pastel colors, texture and surreal landscapes help me with this.
How do you see your work evolving in the future, especially as you dive deeper into full-time illustration? Are there any new techniques, themes, or mediums you’re eager to explore?
I want to see if I can manage to find an agency that wants to represent me, and I’m also interested in moving towards the commercial field a bit more.
Finally, what does art mean to you in today’s digital, fast-paced world? How do you find ways to keep your work authentic to your vision, despite external pressures?
I’m not sure if I believe that I “owe it to myself to always be faithful to myself” or anything. I’m quite pragmatic in that sense. But that’s also because I know what type of images I like and don’t like to make, and I illustrate because I find it interesting. My illustration process has always been based on my instinctive decision-making, which is based on my past experience and the taste I developed. I can’t suddenly change that and create something I don’t like at all. So I guess I’m also lucky that I’m not clever enough to just copy a style that I hate but I know would make a lot of money.
