The cocoon is a form I want to explore more. This print is made with a red background printed with lino on my Fome press and a black surface on top printed by hand with tetra. Paper size: 20 x 20 cm Printed surface: 11,5 x 11,5 cm

Red background printed with lino, black surface printed on top with tetra. Paper size: 20 x 20 cm Printed surface: 11,5 x 11,5 cm

First go at using the transparancy of some inks to create new colors. Used the same lino rectangular block what results in a nice square. Printed on my new Fome printing press with rollers. Paper size: 20 x 20 cm Printed surface: 14 x 14 cm

Lino print using the same block of lino to print two different shades of blue. The second layer is moved down a bit, revealing the light blue of the first layer and giving a nice effect on the bottom part. Printed on a 20 x 20 cm paper.

I decided, from this print on, to name my prints with the date only because it’s too difficult to come up with new names. These images just emerge in my mind anyway, they’re like the resume of all that I encountered during the days before. And it keeps getting more and more abstract but also more powerful and pure. Usually I invent a suitable name after the print is done but naming them with just the date makes the image even stronger and it's easy to now when the print was made. This print is made up of a lino and a tetra print side. Printed on an A4

A print full of recycling. When finished with a lino I cut out the pieces that can be used again and with some of those bits I made this composition. Printed on my Woodzilla using Charbonnel inks on plain office printer paper of 160 gr. Size is A4.

Some circles I drew but preparing for print I thought ‘hey, this looks like a vinyl record’ so I made a little hole in the middle and there it was. A nice and simple tetra print on a 20x20 cm paper.

A print combining lino for the brown and black surfaces with ondulated cardboard for the lines.

Not a triptych but just three tetra prints in the same theme. You can feel the tension of the thick lines that are placed off centre. Printed with waterbased lino ink on a 20x20 cm paper.

One of the first trials I did with monoprint on the Gelli plate. Because I was still searching how to work with it I applied too much acrylic paint. That resulted in a fortunate accident because the paper slid over the paint on the Gelliplate which created the effect of snow on a tree. I used a cut out and also the form of the tree itself that was cut out. The result was unexpected but really nice.

It's nice when the little ‘mistakes’ become part of the lino printing process. When doing designs that are too neat and exact, the slightest mistake when cutting the lino is visible and ruins the whole print. There’s some minor mistakes in this print as well but I think it ads to the graphic value of the print. Printed with Charbonnel ink on 15x15 cm paper using my Woodzilla press.

A print based on tattoo designs I once made for someone (M.B.). Used tetra from a large roll intended for floor protection. It’s very sturdy but a bit of a downside is that the shiny surface isn’t as shiny as that from actual tetra packaging. That means it repels the ink much less so you get an ink buildup. So for best results I have to wipe off the ink after about every 2 prints. It works much better with oil based inks instead of the waterbased ink used here (which I found out later). Print size is 12x12 cm on 20x20 cm offwhite paper.

BACK AND FORTH First time I’ve used tetra from a roll of tetra cardboard that is actually used for protection of the floor during house renovations. That’s why this one is also a bigger size, 14x11 cm on a 20x20 cm offwhite paper. This tetra is much stronger than the packaging version, especially in the areas where I take away the shiny part, so it's possible to squeeze out more then the usual 20 prints max.

A 2 color tetra print inspired by a Mark Verstockt painting (Composition, 1957) I saw in a gallery. First color is bright red and the second is very dark red, almost black. People often think these are large works but in fact the paper size is only 15x15 cm and the printed surface is only about 6x6 cm.

GATEWAY A case of serendipity really, while drawing in my sketchbook this shape turned up. It looks like an open door or gateway. Printed with dark green ink using tetra.

WITHINAn early tetra print exploring the possibilities of taking away the shiny surface as well as making scratched lines. Printed as a relief print with dark blue waterbased ink.

STACK A tetra print exploring the effect of tearing away the shiny surface as well as cutting out a shape. This resulted in a wonderful 3D effect

Nice print using ondulated cardboard as a matrix. I first pulled off all of the paper from one side. Then I cut out a square that I turned 90 degrees. Surface printed is 12x12 cm on a 20x20 cm paper.

Same technique as the previous print: first I pulled off all the paper from one side of the ondulated cardboard. Then I cut out a piece but this time I turned it 180 degrees. This gives a disturbance in the continuation of the black lines.

First (and last) attempt at making a litho print, way too much work. This was printed in 3 colors, that's 3 stones to grind and prepare and print. I really like the result but the ratio creativity&fun vs work is totally out of balance for me. Made this one when I was at KASKA (Royal Academy of Antwerp). Big thank you to my teacher Jochem Harteveld for explaining me the whole process and doing most of the preparing and printing.

When springtime finally started I was so happy the sun began to shine again that I made this tiny tetra print of a flower emerging. It's really small, 5x6,5 cm printed surface on a 14x 17 cm paper.

This is the first time I tried printing two colors with tetra. Here I first printed a red surface and on top of that I printed silver with horizontal lines carved into the tetra. A tiny print of 6,5x6,5 cm on a 15x15 cm paper.

The third tetra print I made, still looking for a graphic language but I felt that emptying my head and not overthinking does a lot. It's a kind of meditation, tapping into a certain cosmic, creative energy that's floating around. It's pure and full of energy.

The second tetra print. One of those happy accidents because I originally wanted to make a print with only the blocks but while gently drawing a pencil line I discovered that it left a white line when printed. So I let the creativity take me deeper and carved more lines.

This is the very first print I ever made with tetra. I was just starting to make things at KASKA (Royal Academy of Antwerp) and didn't really now what direction to go to. So one day, with an empty head, I just started making this, purely shapes and texture. It was the start of more abstract work which is totally my thing and I feel there's a lot more to explore.