The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.

The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.

The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.

Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.





Due to the current circumstances, the physical exhibition will not be open to the public. In our digital tour, you can "walk through the space" and observe the works through the lens of a 360' camera.


Throughout the week, a number of events will be streamed on the website and our twitch channel. See the stream and schedule down below:





Despite science and logic, a lot of conflicting ideas come into the world every day and it is hard to hold on to any understanding of life. In my work I attempt to bring together contradictions such as experience and facts, nature and culture, storytelling and science, the intangible internal world and the external world, the eternal and transience, fragmentation and totality and because I know that it is impossible and because I am not looking for truths, my work is naively ironic and illogical.

For my work I collect images from old books, words, ideas, thoughts and objects. In this wall installation I bring those elements from my archive together associatively. The process of collecting and associating is the work. In my wall installation as well as in my artist book.

While collecting or ‘exploring’ I look at things as if I have not seen them before. They become new and alien to me. I create my own worlds to in a sense overcome the feeling of homelessness and absurdity that I have. Normal things seem strange and confusing and human behaviour irrational and absurd.

I see the sculptures and objects that are part of the installation as ‘relics’ from other places that I ‘took with me’. The drawings are more of a real captured place, somewhere far away and hidden.

In all the works, the same subjects come together intuitively. Our absurd place in the cosmos, time, nature, mystery, perception, consciousness.

In the artist book ‘Tussen ergens en nergens’ (‘Between somewhere and nowhere’) I play, in a childlike way, with science and narrative, through images and words or little poems, creating a fragmented and illogical story.

I want to invite the viewer to wander through the work and experience wonder through the absurd and a sense of mystery for existence and of our insignificance, in a positive and humble way.

I consider my work a search that is never finished. It is an ongoing process of observing, collecting, associating and transforming. My interest lies in exploring the unknown, consciousness, time, perception, nature and our absurd place in the cosmos through a combination of science and narrative.

Through making wall installations and (sketch)books I can work associatively with collected materials and ideas, thought processes and little narratives, creating my own personal universe. I recycle the things from my archive to find new connections so each time it looks different and the elements get new meaning.

The charcoal technique that I use for my drawings enables me to create atmospheric and dreamy, yet vivid, otherworldly realms. A source of inspiration for my drawings are found images from old books with strong textures, motives from nature and shapes that look ‘strange’ to me, or that I could isolate and transfer into something alien.

Untitled Document