My passion for drawing began in primary school. Largely self-taught, I developed a personal visual language early on. By the age of sixteen, I co-founded an advertising painting company with a friend, creating large-scale murals for brands such as Coca-Cola and Fernandes on stations, stadiums, and shop façades. Our work extended even to a DC-8 aircraft, where we airsprayed logos onto the wings and executed fine typographic details, an exceptional scale and precision. In 1964 I studied under Nola Hatterman and later attended the NIKK.
In my twenties, my focus shifted more consciously toward painting and the arts. In 1975, I held my first exhibition at sociëteit Het Park, followed by presentations at Cas di Cultura on Aruba and gallery Libertas on Curaçao.
In 1979, I was selected to represent Suriname at the São Paulo Biennial, where two conceptual works were chosen, one by Jules Chin A Foeng and one of my own.
My project, a large-scale immersive installation (1.5 x 5 × 2 meters), addressed deforestation, toxic pollution, and CO₂ emissions. Conceived as a critical and almost prophetic statement on ecological destruction, it carried the deliberately ironic message: “Merry Christmas 2015.”
Due to personal circumstances, I was unable to attend, and Ed Morroy (architect) was ask to represent me.
The work was subsequently lost and never exhibited; the circumstances remain unclear, and till today no accountability was ever provided.
In 1978, I represented Suriname in a disarmament poster competition organized by UNESCO, for which I received a letter of appreciation from Secretary-General Kurt Waldheim.
Alongside this, I worked on numerous projects, including illustrating poetry collections and designing record covers. I collaborated with writers on a photo book about Carifesta in Barbados. In 1981 I collaborated on a project of SLM (Surinam Airways) contributed to the Diaspora project, aimed at attracting African American visitors to Suriname, an initiative later halted due to political circumstances.
Following the December Murders, I left to the Netherlands in 1982 due to safety concerns, as I was working for news papers.
There, I began a new chapter, opening café-restaurant De Oude Mol in 1984, and later founding a company specializing in the design of children’s furniture.
After 2014, I returned to my artistic practice, continuing my work as a visual artist.
