Thus, I consciously think of myself as following in the footsteps of these masters with my Retro-Art. In doing so, I combine the techniques of classical painting with the modern, let’s call it that, of Warhol. My paintings contain both Willem Kalf’s multi-layering as well as the boldness of Pop Art. In addition, I have been never rejected the serial aspect of artistic production as established by Warhol. Quite the opposite, in fact: my own career, from being a PUMA designer to being Retro Art’s Pinselartist® has brought me to this position exactly. And I hope to be able to prove that painting still lifes remains a sensible pursuit for a contemporary artist, too. My painting on Retro Art is something like an historical bracket and my own classification of my art. It shows Zubarán’s historical vessels and Andy Warhol’s soup cans in one work. Framed by two epochs: the baroque frame of the old master and the modern part of the here and now. Both are complementary for me. No contradiction, but a trajectory.

This positive tension, by the way, is also responsible for my use of the heavy baroque frames around my paintings, which are modern in color and content. And modernity gets a further dimension in that the colors of my prints deviate from the original oil paintings. With their tones, they adapt to people’s different lifestyles as an offer to integrate themselves into them. This I regard as a contribution to the democratization of art: the profound expression of the artist is contained not only in the originals hanging in the museums, after all, but also in the reproductions. In addition, the various gradations in price and quality make them affordable to everyone.