‘Scenes’ consists of a series of paintings in which the landscape is prominent. Humans figure –turned into themselves- in seemingly fictive surroundings. Impressive scenes are being turned into a décor in which the players move according to the premeditated plan of socio-cultural determination. Although the illusion of a logical relation between human and surrounding has been evoked (on first sight there is mainly rest and unity), both are being juxtaposed and become the players antagonist of the dominating landscape.
As viewer we follow these snapshots as if we were in a theatre or a cinema. The images have a closed nature in the way that we look over the shoulder of the characters and recognize the scene from outside as a stylised copy of the kind of image that we have saved in our mental archive.

As in previous series photos have been distilled from archives. Underlying time patterns determine at the same time the recognizability and distance. The expression of the paint is secondary to the iconography of the image in the interpretation of the source material without the paintings becoming sterile reproductions.
In ‘Scenes’ the formats of the paintings are generally larger because of the physical experience of the landscape. Sometimes this strategy is being used the other way round like in the painting of the impressive waterfall that was represented consequently small. Understandings like ‘impact’ or ‘the splendid’ are being ironically compared with the illusiveness of the décor or the image that we save of an impression.