Trying to connect the present/new -and- the past/old... The N. N. Motherland project is a plea to travel through time, searching for the invisible vital forces of human beings and the universe. This allows me to leave the portrayal of art behind and return to the beginnings (the Motherland). N.N. stands for Nomen Nescio, the Latin expression that emerges in genealogical research and literally means "I don't know the name" or “name unknown". It leads to a dead end, because the person's origins cannot be determined. In another context N.N. represents "Nature versus Nurture", an equally unanswered question of what is innate and what is learned from the environment. I take both concepts with me on my journey. December 2025 The insights I've gained over the past three decades while creating my work empowers me. It feels I have to finish what I had forgotten, overlooked or could not yet have understood in those days. See RETROSPECTIVE. Visual Art derives from a creative process and reflects the interplay between inanimate materials and living emotions. Likewise two conflicting forces are always present in the work of artists. Energy needs a solid form in which it leaves traces, so that it becomes visible. My new project N. N. Motherland enables me to focus on the idea that a spectator can look beyond the form or the temporary stay and discover the (un)controllable and powerful, but nameless forces of the universe. It is nature that makes me realize that a human life begins at the moment of birth and the onset of viability. When analyzing the process that preceded each birth, it is clear that two vital forces (two tracks) interact and together they form a new energetic entity. As an artistic journey, I'm returning to my ancestral line, looking for a starting point and explore the theme of opposing fundamental principles. "All mothers, daughters and sisters are like flowers. They carry the history, the birthplaces, the genes and the culture of their family". March 2025: This is a prototype, a visualization of five generations of women, made with beads. Trijntje Vink (1751-1819) in the middle together with her four daughters, five grand-daughters and their female descendants. The white beads includes my grandmother Jo Warmerdam (1887-1953), she is the last one. March 2023: GEN, the magazine for family history published "Vrouwenlijnen, de baarreeks en de Matria Cirkel". The theme of this quarterly magazine is IDENTITY. The Matria Circle portrays mothers, daughters and sisters and is emphasizing on the history of the birthplaces and the culture of women and their family. The focus is set in-and-around the house. To me this is the only answer to the most existential question: what is your origin or where do you come from? That's why I wrote the book DE MATRIA CIRKEL. The Motherland project is a hunt for ansisters in the jungle of South Holland. Spotting a group that does not function as a group, I am an artist on safari, counting eight to ten generations, more than two hundred names. I consider these wimmin as my clan. This story starts with Trijntje Vink (1741) and her four daughters in a little village next to the sea: Noordwijk aan Zee. Yes, the tracing of kinship through the female line is a long journey, a challenging process of gathering data. Today it is sunday, the 25th of October 2020. See 2011 The Motherland Art Project presents a meaningful kind of phenomenon which can only be seen from the matriarchal point of view. It is an observation, not an explanation, it is another reductionist approach, providing a shortcut to the past. I visualize the outcome of my genealogical research and the chain of mothers-and-their-daughters over seven generations. Photography 2017-2021 made during Womb of Time (II) moving towards the "The Motherland" project. My work is an artistic research, I am eager to read life and understand nature. The result is a composition, a poetic merging/remix of forms, materials and thoughts: a remix of cultural artifacts, factory made utensils, objects, photography and natural products. I choose different materials to work with for each project. See OVERVIEW. I find my inspiration in the world of Flowers, Botanica and Morphology. I do not study the shapes or structure of celestial bodies, animals and flowers, but try to visualize forms of human life and lineages, like a natural system, a group of related elements as a whole.