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"By works I mean the objects that I make in my studio.
"Concepts arise from ideas that arise in my head, which can happen at any time and anywhere.
Furthermore, projects have a long duration, require a lot of research and involve collaboration with many experts."
The basic idea for the concept is leading and the context is more in the background."
"Projects, in my case, are more complex. There is a concrete spatial context. The idea to be depicted arises from a task statement. 
CONTINUE
At a certain point, the idea transforms into a vision for its imagination.
CONTACT
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SOME WORKS
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CONCEPTS
PROJECTS
STUDIO
THE ARTIST
AD FONTES 2015
BENCHES AND TREE TUBS 2012
●  CULTURAL HISTORICAL RESEARCH
●  SUMMARY ARTWORKS FOR ERASMUS UNIVERSITY
BRONZE FOUNTAINS 2013
CASUEEL 2006
CARPET OF THE FACULTIES 2009
INJECTABLES - 2024
MODULOR ASSISTED - 2023
COLLATERAL DAMAGE 2019
MILLEFEUILLE III - 2022
MODULOR IV - 2024
●  ACTUAL SERIES
SICK 09316937 - 2023
UNKNOWN UNKNOWNS - 2023
BROADWAY JAZZ - 2024
DUTCH LANDSCAPE FARMING VERTICALLY 2010
COLOR PALETTE 2017
UNKNOWN UNKNOWNS, FRAGMENT - 2023
DESIDERIUS BREVIERT IN YELLOW NEON 2009
MODULOR III - 2024
EMPTY SEATS IN SALVADOR 2010
DISPLAY BASE 2005
MODULOR CUT - 2023
ESCALIER MAEGHT 2017
MODULOR VIII - 2024
YOUNG PRINCESS LOOKS OUT ELOQUENTLY ON MULTI_COLOURED PEOPLE
LINK TO PUBLICATION
FIRST PRO CASE 1974 FINALY CLOSED AND BOXED 2009
EGYPT THE LAND OF CIVILIZATION
MY PERSONAL JUKEBOX 2016
JUST ANOTHER SUCCESSFULL PROJECT 2022-CONCEPT 2018
OOPS 2017-2022
OOPS 2017
MILLEFEUILLES II-2017
DOWNLOAD PUBLICATION
OOPS III 2022
RECYCLING ADAGIA 2016
WHY ME 2019
●  SOME EARLIER WORKS
TRASHBIN 323989 - 2016
UNFRITTERED 2009
VITRUVE CONNECTEE AUJOURDUI 2017
Project for the Erasmus University Rotterdam In 2010, I was commissioned by the Executive Board for three monumental works of art for this lecture hall building on the university campus. Two of those works are in the interior. My goal was to integrate a lot of colours into the building without affecting the integrity of the original architecture. The origins of this Rotterdam university building date back to the 1960s. In 2006 it became official heritage, a reflection of the period of reconstruction of Dutch society after the Second World War. These 150 yards long and 50 feet high lecture hall building is a pure example of Brutalist Architecture.  However, from the start, the university community complained about the dull atmosphere and the lack of colour in the pure concrete building, which was precisely what the designing architect had aimed for at the time. That posed a major challenge for the restoration project. The restoration of the building was completed in 2012, including the installation of the works of art. Broche is the large art object in the long hall consisting of a steel rail containing 85 large, fused glass elements. Each element has a unique design in three or more layers of fused glass pieces. The shape of the elements differs, although there is repetition. Layering and repetition are characteristic of my art. This work reflects the spatial context and the university community in several ways; for example, in its colourful crowd and in details that point to persons or statements in the history of the university. In total, more than five thousand glass pieces in the designs were manually drawn and coded by me and manually cut in the glass studio and fused in ovens. The total object weighs 6,500 kilos. As in my other work, the concept here also involves layering and repetition.
Project for the Erasmus University Rotterdam In 2008, I was commissioned by the Executive Board to create a new statue of Erasmus, to be in the Senate Building, where examinees with their diplomas have their pictures taken next to the university icon. During my preliminary studies I delved into the bibliographies of Erasmus' life and writings. Considering everything, I concluded that his versatility in person as well as in his professional quality are typical of Erasmus. Thus, 'layering' became the concept for this artwork, and as a result, layering became an important theme in my further work. The sculpture is composed of 14 vertical castings, each in different types of bronze. The castings include sayings by Erasmus in Latin. These sayings reflect how the university sees itself in the academic world. The statue was made full size because ‘he must stand in the middle of the audience’, like the master scientist with his thumb up, promoting lifelong learning. However, for practical reasons the client wanted to elevate the figure slightly above the audience groups. To accommodate this, I decided to place Desiderius on a stack of bronze books with cast-in book titles. After all, Erasmus became 'great' through his writings. (Incidentally, that compromise took a turn. A few years after the unveiling of the statue, the Executive Board was delicately pointed out by an Asian visitor that in their culture standing on books is considered an insult.)
Project for the Erasmus University Rotterdam In 2010, I was commissioned by the Executive Board for three monumental works of art for this lecture hall building on the university campus. Two of those works are in the interior. My goal was to integrate a lot of colours into the building without affecting the integrity of the original architecture. The origins of this Rotterdam university building date back to the 1960s. In 2006 it became official heritage, a reflection of the period of reconstruction of Dutch society after the Second World War. These 150 yards long and 50 feet high lecture hall building is a pure example of Brutalist Architecture.  However, from the start, the university community complained about the dull atmosphere and the lack of colour in the pure concrete building, which was precisely what the designing architect had aimed for at the time. That posed a major challenge for the restoration project. The restoration of the building was completed in 2012, including the installation of the works of art. Frames is a triptych of large steel frames containing plates of stained (ceramic) glass. The position of these frames brings colourful daylight into the main hall and from inside to outside, reflecting the original all-white ceramic artworks opposite across the hall. In total, the artwork contains 74 glass elements, 462 colour areas, and it measures 44 m2. As in my other work, the concept here also involves layering and repetition.
PROJECTS
STUDIO
ATELIER VILLA SAINT-PAUL DE VENCE
CONTACT:
info@atelier-geef.com
●  INSPIRATORS
THE ARTIST
"It’s not possible for an artist to define Art in a general sense. Doing art is an individual and a personal matter. Considering a man’s own art is nonsensical."
●  WHAT IS ART 
"It started a long time ago, in the last century during time at the art school. And it hasn't stopped since. So there is no longer a real new beginning. More precisely, it is an ever-present, ongoing process in my head."
PERSONAL TRAITS  ●  
"Of course, the longer the artist lives, the more contextual forces will influence his work. For example, I recognize my education, long work experience, many successes and disappointments, socio-cultural environment, world travel, reading, biographies and previous styles, but also clients and collaboration partners."
●  THE ART PROCESS
OTHER INFLUENCES  ●  
"I'm inquisitive, dead serious in my work and humor is never far away."
Q&A
‘aimeMMMMMMMs’ My ‘M’s’ are the people who inspire me and arouse my interest. That is also reflected in my work. ‘M1’, my wife Marianne, thinks big, but she likes simplicity and clarity. That gives me great support, because in the complexity of my work I must find my way by creating order in the chaos of information and ideas. That is a normal reflex for an architect and for me therefore also as a visual artist. The other inspiring ‘M’s’ are: Mies van der Rohe, Hugh Maaskant, Miles Davis, Mondrian, Matisse, Marcel Duchamp.  Mies for his convincing aesthetic development into 'Less is More'. There I found my inexhaustible source of composition in the straight line, as can also be found with Mondrian. This contrasts to Matisse, who was a master at controlling the curvature and who became the Less-Is-More champion with his minimal line. Miles was also a minimalist and he continued to explore throughout his life how his unique musical tone could be used in new ensembles and compositions. Maaskant is the Dutch master of functional, elegant robustness. By the way, my current studio is the former office of architect Maaskant. I find Marcel D's artistic career very interesting, because of his layered depth and humour. Furthermore, they all have in common that high 'aesthetic' quality was achieved with few colour tones in their work. I feel most at home in depicting ideas in a way that is not concrete, at most suggestive; and the seriousness of the work must be put into perspective, there must also be something in the work that is apparently wrong. Although further development in my work is inevitable, the continuity of basic principles for the elaboration of concepts remains primary.
PROFESSIONAL QUALITIES. ●  
"Well, in the first place, always working in a planned manner. And then, I think, good safeguarding the integrity of the target is most important. During the execution of the work, I am very critical on the quality of it."
2023-2024 I am currently working on a series of reliefs that follow a mathematically constructed pattern. A work always consists of a frame covered with heavy Belgian linen and on top of which a collage of paint, rope, and objects. The works in this series have dimensions ranging from 1.1 x 1.1 meters to 1.2 x 1.6 meters. The thickness of the object is 0.6 m. Approximately 15 works in this series are expected to be completed until Q1-2025. During my studies in the 1970s at the Academy of Visual Arts in Rotterdam, I was introduced to conceptual art, while at the time this academy celebrated the artist's traditional craftsmanship with great precision. I continued my education at the Academy of Architecture and built a long career as an architect and urban designer. Since the start of my parallel professional practice as a visual artist in 2005, I have worked experimentally and practically based on several recurring themes in my work: Layering, Multiplicity, Mathematics, Language, Desiderius Erasmus These themes are developed in various forms,  Paintings, Multimedia objects, Reliefs, Collages, Vitrines All works are unique and produced manually.
●  THEMES & MEDIUMS