His process begins with Shou Sugi Ban, an ancient Japanese technique of charring wood. For Hendrik, this process is not a destructive force but a collaborative one that reveals the raw, primal texture of the material. The fire becomes a partner in creation, revealing a richness in the wood’s grain that was always there, waiting to be seen. Over this dark, scarred foundation, he lays delicate layers of Hanji paper, a material chosen for its history and remarkable resilience. The Hanji acts as a veil, softening the intensity and inviting a closer look. What the viewer sees is not just the paper, but the quiet, ghost-like impression of the burnt surface underneath. It’s a testament to the idea that our past, with all its imperfections, is always present and can be a source of unexpected beauty.

The recurring circles in Hendrik’s work are a personal symbol. They represent the endless cycles of life—the pain and the joy, the endings and the new beginnings. He believes true wholeness is not found in a perfect, linear path, but in our ability to embrace the full circle of our experience. Through this process, he hopes his pieces can offer a quiet space for contemplation, a reminder that even from chaos, something beautiful can emerge.

Size
1685 × 1380 × 30mm

Pair of Montparnasse early 20th century picture frames in original paint/gilded finish.

 France circa 1930.

H 57cm x W 66cm x D 8cm

Exceptional craftsmanship on this 18th Century French Louis XVI pine panel.

With deep and crisp craving and  time worn superb patina. Circa 1780.

Large Decorative Canvas, Circa 1900, Signed A. Hubert

SANDRA BLOW RA (1925 – 2006)

“Iridescent Wave, 2004”

Signed and numbered I/XIII AP

Silkscreen with collage elements: 21 ½ x 21 ¾ in / 55 x 55.5 cm

Frame: 31 ½ x 30 ¾ in / 80 x 78.5 cm

Edition of 130

Painting by Sandra Blow, Tea and Ash Series Image Dimensions: 6”x 9”

Tea and Ash Series, Painting by Sandra Blow. Dimensions: 6”x 9”

A Set of four continental walnut carved panels, now framed.