Gerrit: 'I studied jewellery design, but I was not doing anything with that for a while. About seven years ago I felt like picking up the thread and studied drawing at the Academy of Deinze. I noticed that elements such as reflection, metal and small details still appeal to me. Here lies a - sometimes unconscious - link to my earlier studies.

The very first time I used sheet copper in an artwork was when I was looking for a way to represent supreme happiness, sublime beauty. In fine art, gold often represents the ultimate, a sign of wealth. Because of the glue I used to attach the copper foil, I obtained a kind of crackle that I found very interesting to work with. In the next pieces, I tried to integrate this texture more. It took a while until I found the right technique, but now I can hardly imagine my work without this technique.

Work by work, the sheet copper has become a kind of starting point. Before I start drawing, I stamp the thin crumpled pieces of sheet copper with a piece of paper and then check where it sticks to the sheet. Then I gently brush it off and see what remains. Depending on the structure of the sheet copper, I start drawing.'

Gerrit: 'Because sheet copper has become such a familiar element by now, I tried to drop the material in my latest works. But I immediately noticed that this made the creation process a lot more difficult. In the meantime, I also experimented with motor oil, but nothing intrigues me as much as sheet copper. Because of those detours, I feel the urge to reintroduce, though not in every work, sheet copper. It is too much fun and it is too inherent to my work to stop doing it at this point.

My work hovers somewhat between the abstract and the figurative. It often incorporates architectural or natural elements. For instance, a termite mound I photographed on a recent trip provided a lot of inspiration. I believe it is important that people have not seen my work in a few seconds, but take time to look at it and allow the work to trigger their thoughts.’