As a painter I am interested in the language of painting and how this language has been framed by its cultural conditions and the historical legacy of painting in general. In my practice I examine where these contexts leave painting today and how their renewed exploration offers possibilities for a contemporary practice. These interests are grounded in my research for a practice-led PhD in which I construct an argument for kitsch that frees it from traditional hierarchies of class and taste and explains it instead as a cultural ‘recycling machine’ and as a marker between the fashionable and the outmoded (read abstract). With this argument in mind and with a particular focus on modernism my painting practice deals with a mimetic assimilation and re-interpretation of relevant stylistic devices that are characteristic for modernist painting. Formal elements, such as the grid or an expressive brush stroke, are re-presented in a manner that deliberately goes against the prevalent ideology of their time. But rather than being a post-modern appropriation that dwells on irony their opulent and illusionistic rendering aims at heightening their presence and as such my paintings simultaneously assert and undermine the essence of modernism.