Les Chants de Maldoror (1868-69) by Comte de Lautréamont is one of my favorite books. I must have discovered it around the time I finished my university studies in art history, back in 2011, and from my mailbox history it seems I read it for the first time in 2012. Les Chants de Maldoror is written in poetic prose, largely from the perspective of its protagonist Maldoror, who could be interpreted as an alter ego of the author. Maldoror is often described by literary critics as inherently evil and cruel, which he may be, but I have always considered him to be a product of his environment, or rather a counterreaction to it: he observes the horrors that exist in the world and comes to terms with them by fighting fire with fire. A recurring theme in the book is that of Maldoror's struggle with God, a God that allows for such horrors to exist and must therefore be dethroned. Although Maldoror revels in his role as harbinger of the dark and the macabre, the book is also an ode to all the beauty that the world has to offer. It is riddled with wonderful observations and surprising metaphors from nature, worshipping of the arts and sciences, lots of black humor and surreal, dreamlike fantasies. It is no coincidence that Les Chants de Maldoror was rediscovered by the surrealists and championed for its associative and disruptive qualities. Many surrealist artists drew inspiration from Lautréamont's masterpiece and created drawings, paintings, film, photography and writing that refer to it. The mystery that surrounds the author, about whom little is known except that he died at the age of 24, leaving behind one single piece of literary genius (not taking into account his Poésies), no doubt contributed to his allure for the surrealists. It was through the book's influence on surrealism that it came under my attention during my art history studies. 

The first canto of the book was originally published anonymously in French in 1868. The complete work, consisting of six cantos, was printed a year later under Isidore Ducasse's pseudonym Le Comte de Lautréamont. Ducasse died in 1870, when the fate of his book was still hanging in the balance. The first run was cut short by the editor, Albert Lacroix, due to fear of legal repercussions, partly because of the work's blasphemous nature.
The first full English translation, The Lay of Maldoror, was done by John Rodker and saw the light of day in 1924. In my native language Dutch a translation appeared even earlier in 1917, titled De Zangen van Maldoror, done by psychiatrist Johan Stärcke (also the first Dutch translator of Freud) and published by C.A.J. van Dishoeck in Bussum. Over the years I have become somewhat of a collector, and I now own several copies of Les Chants de Maldoror in different languages, among which the rare Dutch edition by Stärcke.

​In 2014 I got carte blanche to make a series of drawings for an obscure student magazine from Amsterdam, titled Killer Magazine. The idea to create illustrations for Les Chants de Maldoror had been brewing in my mind for a while, and when this opportunity arose I took it. I reread the book and picked four scenes that resonated with me; the black and white artworks that came forth from it were drawn with fountain pen on A4 paper, and were printed for Killer Magazine as full page illustrations of the same size. They are titled: 

• Die kreten zijn gaan kruipen (English: 'These cries have begun to crawl')
• Ten prooi aan de waanzin (English: 'Prey to madness')
• Maldoror versus Hoop (English: 'Maldoror versus Hope') 
• Ongelukkige bal (English: 'Wretched ball')
  
  

Additionally, I was asked to draw a cover for the magazine. The cover illustration is titled Isidore Ducasse, and is based on what is believed to be the only photograph of the author that still exists. 

Below, I will explain each artwork and quote passages from Les Chants de Maldoror that they were inspired on. I will quote from the book in three languages: Dutch, English and French. My drawings were made after reading the Dutch translation of De Zangen van Maldoror by René Sanders, published in 2011 by Kelderuitgeverij, Utrecht. For that reason, the Dutch quotes I use are from that edition. For the English text, I quote from The Songs of Maldoror published in 2011 by Solar Books, translated by R.J. Dent, that features illustrations by Salvador Dalí. For the original French text, I use the edition from 1948 published by Éditions "La Boétie", for which René Magritte made a total of 77 illlustrations over the course of four years.

​Die kreten zijn gaan kruipen translates to 'These cries have begun to crawl'. It is a line that I took from the Dutch translation by René Sanders​ for Kelderuitgeverij. It also appears in the 1917 Dutch translation by Johan Stärcke, but is missing in its literal sense in the English and French versions of the text. The line comes from a passage in which Maldoror transforms into an octopus and torments God, whose screams of agony turn into serpents that crawl out of his mouth, and go on to plague humanity. 

2nd canto, 15th strophe

Dutch:

Welnu, ditmaal neem ik mij voor de mens te verdedigen. Ik, de verachter van alle deugden, ik die de Schepper niet heeft kunnen vergeten sinds die roemrijke dag, toen ik de annalen van de hemel – waarin, door ik weet niet wat voor een schandalig geknoei, zijn macht en zijn eeuwigheid stonden vermeld – van hun voetstuk stootte en ik mijn vierhonderd zuignapjes vasthechtte onder zijn oksel en hem vreselijke kreten liet uitstoten... Deze veranderden in adders, zodra ze uit zijn mond kwamen en verborgen zich in het struikgewas, in bouwvallige muren, ze lagen dag en nacht op de loer. Die kreten zijn gaan kruipen. Ze hebben talloze ringen, een kleine afgeplatte kop, valse ogen gekregen, en hebben gezworen dat zij voor altijd de menselijke onschuld te grazen zullen nemen. Ook als deze in het dichte kreupelhout wandelt of langs heuvelruggen of door zandige duinen, dan veranderen zij zonder te aarzelen hun opzet. Als daar althans nog tijd voor is. Want meermalen bemerkt de mens dat het vergif met een bijna onmerkbare beet in de aderen van zijn been binnendringt, voordat hij tijd heeft gehad om om te keren en er vandoor te gaan. Op deze wijze weet de Schepper, die zelfs bij het gruwelijkste lijden een bewonderenswaardige koelbloedigheid aan de dag legt, uit de kringen van aardbewoners zelf nog schadelijke kiemen te halen.
​
English:

Ah well, this time I introduce myself as the defender of man; I, the scorner of all virtues; I, whom the creator has been unable to forget since the glorious day when I knocked from its pedestal the history of heaven, in which was recorded – by what infamous intrigue I do not know – his power and his eternity, and I applied my four hundred suction cups to the hollow of his armpit, making him utter such terrible screams... screams which changed into vipers as they left his mouth, and went into hiding in the undergrowth and under ruined walls, alert all day, alert all night. These cries, endowed with innumerable rings, small flat heads and dangerous eyes, crawl away and swear to block the path of human innocence, so when a man is walking through tangled maquis, or up a steep slope, or over sand dunes, he quickly changes his mind. But only if there is time to do so, because sometimes a man sees the poison entering the veins of his leg after an almost imperceptible bite before he has had time to turn back on the path and escape. Thus it is that the Creator, maintaining an admirable calmness, even in the face of the most atrocious suffering, knows how to extract harmful germs from the hearts of the earth's inhabitants.  
 
French:

Eh bien, je me présente pour défendre l'homme, cette fois; moi, le contempteur de toutes les vertus; moi, celui qui n'as pu oublier le Créateur, depuis le jour glorieux où, renversant de leur socle les annales du ciel, où, par je ne sais pas quel tripotage infâme, étaient consignées sa puissance et son éternité, j'appliquai mes quatre cents ventouses sur le dessous de son aisselle, et lui fis pousser des cris terribles... Ils se changèrent en vipères, en sortant par sa bouche, et allèrent se cacher dans les broussailles, les murailles en ruine, aux aguets le jour, aux aguets la nuit. Ces cris, devenus rampants, et doués d'anneaux innombrables, avec une tête petite et aplatie, des yeux perfides, ont juré d'être en arrêt devant l'innocence humaine; et, quand celle-ci se promène dans les enchevêtrements des maquis, ou au revers des talus ou sur les sables des dunes, elle ne tarde pas à changer d'idée. Si, cependant, il en est temps encore; car, des fois, l'homme aperçoit le poison s'introduire dans les veines de sa jambe, par une morsure imperceptible, avant qu'il ait eu le temps de rebrousser chemin et de gagner le large. C'est ainsi que le Créateur, conservant un sang-froid admirables, jusque dans les souffrances les plus atroces, sait retirer, de leur propre sein, des germes nuisibles aux habitants de la terre.

Ten prooi aan de waanzin translates to 'Prey to madness'. This illustration, depicting a dog that is barking wildly while frothing at the mouth, is inspired on a feverish passage in which Lautréamont uses a series of powerful metaphors to describe how madness and despair manifest themselves in the minds of humans and animals alike.

1st canto, 8th strophe

Dutch:

Door de bladeren huilt de wind met smachtende tonen en zingt de uil zijn dodelijke klaagzang die bij hen die het horen, de haren te berge doet rijzen. Dan breken de razend geworden honden uit hun ketenen, ontsnappen van verafgelegen boerderijen. Her en der rennen ze ten prooi aan de waanzin door het landschap. Ineens staan ze stil, kijken waanzinnig angstig en met vuur schietende ogen, naar alle kanten om zich heen. Net als de olifanten die voordat ze in de woestijn sterven hun laatste blik op de hemel richten, waarbij ze wanhopig hun slurven optillen, hun oren laten hangen, hun ogen niet bewegen, bewegen ook de honden hun oren niet. Als ze hun koppen oprichten, zwellen hun vreselijke nekken, en beginnen zij om beurten te janken, net als een kind dat huilt van de honger, of als een kat die boven op een dak zijn buik openscheurt, of als een vrouw die op het punt staat te bevallen, of als een stervende man die in het ziekenhuis aan de pest lijdt, of als een jong meisje dat een prachtig lied zingt. 

English:

The wind moans, making languorous notes sound through the leaves, and the owl sings its solemn lament which makes the hair of those who hear it stand on end. Then dogs, driven wild, break their chains and escape from remote farms. They rove the countryside, prey to madness. Suddenly they stop and look around, their eyes blazing with savage unease. Just as elephants in the desert take a final look at the sky before they die, desperately raising their trunks and leaving their ears laid back, these dogs also lay their ears back, raise their heads, stretch their necks and start to bark in turn, like a child crying from hunger, or a cat with its guts ripped open on a roof, or a woman giving birth, or a plague-riddled patient dying in a hospital, or like a young girl singing a sublime aria...

French:

Le vent gémit à travers les feuilles ses notes langoureuses, et le hibou chante sa grave complainte, qui fait dresser les cheveux à ceux qui l'entendent. Alors, les chiens, rendus furieux, brisent leur chaînes, s'échappent des fermes lontaines; ils courent dans la campagne, çà et là, en proie à la folie. Tout à coup, ils s'arrêtent, regardent de tous les côtés avec une inquiétude farouche, l'œil en feu; et, de même que les éléphants, avant de mourir, jettent dans le désert un dernier regard au ciel, élevant désespérément leur trompe, laissant leur oreilles inertes, de même les chiens laissent leurs oreilles inertes, élèvent la tête, gonfient le cou terrible, et se mettent à aboyer, tour à tour, soit comme un enfant qui crie de faim, soit comme un chat blessé au ventre au-dessus d'un toit, soit comme une femme qui va enfenter, soit comme un moribond atteint de la peste à l'hôpital, soit comme une jeune fille qui chante un air sublime [...]
​

Maldoror versus Hoop is inspired on a passage from the third canto in which a mysterious spectator watches on as a violent encounter unfolds between Maldoror, who turns into a giant eagle, and the embodiment of Hope (as becomes apparent when the scene comes to a conclusion), appearing in the shape of a dragon with the upper body of a tiger and the lower half of a serpent. Their brutal fight takes place in the air, where they claw away at each other and cause horrific wounds. 

3rd canto, 3rd strophe

Dutch:

​'Hij is ver weg, ik zie zijn silhouet op een smal pad verdergaan. Waar gaat hij heen, met die zware passen? Hij weet het zelf niet... Toch weet ik zeker dat ik niet slaap, wie komt daar nu aan en gaat Maldoror tegemoet? Wat is hij groot, de draak.. groter dan een eik! Het is alsof zijn vaalwitte vleugels die stevig aan zijn lichaam zitten, stalen pezen hebben, zo gemakkelijk doorklieven ze de lucht. Zijn lichaam begint als het bovenlijf van een tijger en het eindigt in een lange slangenstaart. Ik ben niet gewend zulke dingen te zien. Maar wat staat daar op zijn voorhoofd? Ik zie dat er in beeldschrift een woord opgeschreven staat, dat ik niet kan ontcijferen.' Met een laatste vleugelslag is hij neegestreken naast degene, waarvan ik het stemgeluid herken. Hij zegt tegen hem: "Ik verwacht je, en jij mij ook. Het uur is gekomen; hier ben ik. Lees mijn naam op mijn voorhoofd, die in hiëroglyfen geschreven is."  Maar nauwelijks heeft de ander de vijand gezien of hij verandert zichzelf in een reusachtige arend. Hij bereidt zich voor op de strijd, terwijl hij tevreden klappert met zijn kromme snavel, waarmee hij wil zeggen: het achterste deel van de draak neem ik helemaal alleen voor mijn rekening.  

English:

He is far away; I see his silhouette following a narrow path. Where is he going with that heavy step? He himself does not know... However, I am convinced that I am not asleep: what is it approaching and going to meet Maldoror? How huge the dragon is... bigger than an oak! You could say that its whitish wings, joined firmly to its body, have nerves of steel, for they part the air with ease. Its body starts with a tiger's head and ends in a snake's long tail. I am not accustomed to seeing such things. What is that on its brow? I see written there in a symbolic language, a word that I cannot decipher. With a final wing-beat it moves close to him whose tone of voice I know well. It says: 'I have been waiting for you, as you have waited for me. The hour is come. Here I am. Read on my brow my name written in hieroglyphic signs.' But no sooner had Maldoror seen the enemy coming than he changed into a great eagle, and prepared for combat, contentedly clacking his curved beak, by which he means to solely undertake to devour the dragon's hindquarters.

French:

Il est loin; je vois sa silhouette cheminer sur un étroit sentier. Où s'en va-t-il, de ce pas pesant? Il ne le sait lui-même... Cependant, je suis persuadé que je ne dors pas : que'est-ce qui s'approche, et va à la rencontre de Maldoror? Comme il est grand, le dragon... plus qu'un chêne! On dirait que ses ailes blanchâtres, nouées par de fortes attaches, ont des nerfs d'acier, tant elles fendent l'air avec aisance. Son corps commence par un buste de tigre, et se termine par une longue queue de serpent. Je n'étais pas habitué à voir ces choses. Qu'a-t-il sur le front? J'y vois écrit, dans un langage symbolique, un mot que je ne puis déchiffrer. D'un dernier coup d'aile, il s'est transporté auprès de celui dont je connais le timbre de voix. Il lui a dit : « Je t'attendais, et toi aussi. L'heure est arrivée; me voilà. Lis, sur mon front, mon nom écrit en signes hiéroglyphiques. » Mais lui, à peine a-t-il vu venir l'ennemi, s'est changé en aigle immense, et se prépare au combat, en faisant claquer de contentement son bec recourbé, voulant dire par là qu'il se charge, à lui seul, de manger la partie postérieure du dragon.

Ongelukkige bal​ (English: 'Wretched ball') illustrates a dreamlike passage from the 5th canto in which a viewer, described by Maldoror as having the head of a pelican and the body of a man, watches as a dung beetle rolls the remains of a deceased woman over hills and paths. In the sky, another aerial battle unfolds between two birds. In the upper left I have incorporated a recurring detail from Dalí's paintings: an adult figure holding the hand of a child, supposedly depicting a young Dalí with his father.

​5th canto, 2nd strophe
​
Dutch:

Zodra de mestkever aan de voet van het heuveltje was gekomen, strekte de man zijn arm uit naar het westen (waar net een luchtgevecht begonnen was tussen een lammergier en een Virginische oehoe), wiste een grote traan van zijn snavel, waarin een kleurenstelsel schitterde als in een diamant en zei tegen de mestkever: 'Heb je die ongelukkige bal nog niet lang genoeg laten rollen? Je wraaklust is zeker nog niet gestild, en nu zijn de beenderen van die vrouw – waarvan je de armen en benen je op een zodanige wijze met parelsnoeren had vastgebonden, dat er een vormloos veelvlak ontstond, waardoor je haar met je poten dwars door dalen en over wegen, over doornen en stenen kon voortslepen (laat mij dichterbij komen om te zien of zij het nog is!) – overdekt met wonden en zijn haar ledematen gepolijst door de mechanische wet van de roterende wrijving, zodat ze niet meer van elkaar te onderscheiden zijn in de compacte massa. Haar lichaam biedt, in plaats van oorspronleijke verhoudingen en natuurlijke rondingen, de eentonige aanblik van één homogeen geheel dat door de vermenging van de verschillende verbrijzelde bestanddelen maar al te zeer op een bol lijkt! Zij is lang geleden overleden. Laat de overblijfselen toch op deze plek liggen. Zorg liever dat je je woede, waardoor je verteerd wordt, niet tot onherstelbare proporties opblaast, dit is toch geen gerechtigheid, want het egoïsme dat onder het pantser van je voorhoofd verborgen ligt, tilt langzaam, als een spook, het geplooid gordijn dat het bedekt, omhoog.'

English:

As soon as the beetle arrived at the bottom of the hill, the man raised his arm towards the west (in precisely this direction, a lamb-eating vulture and a Virginian eagle-owl were engaged in an aerial fight), wiped from his beak a long teardrop which presented a diamond-like colour-scheme, and said to the beetle: “Wretched ball! Have you not been rolling it for long enough? Your vengeance is not yet assuaged; and already this woman, whose arms and legs you tied up with pearl necklaces in such a manner as to make an amorphous polyhedron shape, so that you can drag her by the tarsal bones across valleys and paths, over brambles and stones (let me approach to see if it is still her!) has seen her bones gouged by wounds, her limbs polished by the mechanical law of rotary friction, melding into a coagulated unit, her body presenting, instead of primordial lineaments and natural curves, the monotonous appearance of a homogeneous whole which, through the confusion of its various crushed elements, resembles the mass of a sphere! She has been dead for a very long time; leave these remains to the earth, and take care that the rage which consumes you does not increase in irreparable proportions: it is no longer justice; because egotism, hidden in the teguments of your brow, like a phantom slowly raises the sheet which covers it.”

​French:

Dès que le scarabée fut arrivé au bas du tertre, l'homme leva son bras vers l'ouest (précisément, dans cette direction, un vautour des agneaux et un grand-duc de Virginie avaient engagé un combat dans les airs), essuya sur son bec une longue larme qui présentait un système de coloration diamantée, et dit au scarabée : « Malheureuse boule! ne l'as-tu pas fait rouler assez longtemps? Ta vengeance n'est pas assouvie; et, déjà, cette femme, dont tu avais attaché, avec des colliers de perles, les james et les bras, de manière à réaliser un polyèdre amorphe, afin de la traîner, avec tes tarses, à travers les vallées et les chemins, sur les ronces et les pierres (laisse-moi m'approcher pour voir si c'est encore elle!) a vus ses os se creuser de blessures, ses membres se polir par la loi mécanique du frottement rotatoire, se confondre dans l'unité de la coagulation, et son corps présenter, au lieu des linéaments primordiaux et des courbes naturelles, l'apparence monotone d'un seul tout homogène qui ne ressemble que trop, par la confusion de ses divers éléments broyés, à la masse d'un sphère! Il ya a longtemps qu'elle est morte; laisse ces dépouilles à la terre, et prends garde d'augmenter, dans irréparables proportions, la rage qui te consume : ce n'est plus de la justice : car, l'égoïsme, caché dans les téguments de ton front, soulève lentement, come un fantôme, la draperie qui le recouvre. »

A little while ago, Travis from All Things Go did a podcast interview with me about the game of go, my art, and my involvement in the go community.

It’s available in 2 parts on Spotify, Apple and YouTube.
Part 1 on Spotify: click here.
Part 2 on Spotify: click here.

​It was fun to talk about my life as a go player and all the different projects I've worked on over the years. We talk about my go studies in Wuhan in 2010, my inspiration for go drawings, the BadukMovies video platform, my book series Weird and Wonderful, and much more. Thanks for having me, Travis! I look forward to listening to more podcasts about our beautiful game.

My eighth consecutive cover design for the Nederlandse Go Bond (Dutch Go Association), featuring animals and paper marbling. The 2023 yearbook shows a swordfish jumping out of the sea and a 9x9 go board in the sky. The game of go that it depicts is nearing completion: we are looking at an endgame problem with a surprising twist. Komi is half a point; it is black to play and win by the smallest of margins. Can you find the tesuji?

In 2015 I created a series of 10 animal illustrations in black and white for BadukTV, a Korean television channel that broadcasts the game of go 24/7. The go boards depicted in the drawings were to have specific dimensions: 9x6, 13x13, 9x13, 9x9, 5x5, 13x13, 13x9 and 9x5. The plan for these drawings was to use them on promotional material for kids in Korea. BadukTV requested empty go boards, as they planned on adding go shapes themselves. 

I drew a turtle, a swordfish, a ring-tailed lemur, emperor penguins, a panda, an owl, a giraffe, an elephant, a butterfly and a raccoon-dog. Three of those were alterations of artworks I had already made in the past: the turtle, the swordfish and the raccoon-dog. The other seven drawings I made specifically for this project. See all 10 of them below.

Sadly, for reasons still unclear to me, BadukTV shelved the project and my drawings were never used in Korea. The good thing about the situation was that the rights for the drawings came back to me and I was free to use them any way I wanted. In the years that followed, I created many colour versions of the artworks, incorporating puns for names of go shapes, historic go matches and swirly backgrounds made with marbled paper: click here to see the results. Some of these colour versions made it to the covers of the Dutch Go Yearbook (see here) and over the years I sold many of them in the form of art prints, postcards and mugs in my Etsy shop.

A few of the black and white animals never made a reappearance: the owl, the giraffe and the panda were left and forgotten. Recently I rediscovered the panda and re-designed it (first picture of this post) when I was working on a 2024 go calendar (now 20 for sale: click here). 

The panda drawing incorporates a 5 by 5 go board that is filled with a go position I thought up: a double ko that can never be resolved by either player sets up a seki on the entire board. Seki (セキ) is the Japanese term for a local stalemate position of 'shared life': neither black nor white can take away liberties of the other's group(s), resulting in a truce.

The panda artwork is now for sale as cards and posters.
Click here for the postcard.
​Click here for the poster.

Martien van Agtmaal, one of the editors of digital cultural magazine De Optimist, asked me around the beginning of October if I'd like to make an illustration for the poem 'so this is my wilderness' by Lilian van Ooijen. The poem evokes several surreal images, among which are the union of a passion fruit and a dripping quince, a licorice key and sedimentary rock formations. It can now be read (in Dutch) on the website of De Optimist, by clicking here. 

The cover of the 2021-2023 Dutch Go Yearbook is the seventh consecutive one in a series I have made for the Nederlandse Go Bond (the Dutch Association for the game of Go, also known as baduk (바둑) in Korea, weiqi (围棋) in China and igo (囲碁) in Japan). It features my artwork "Two Little Birds Play Go on the Feathers of a Peacock", which was originally made as a private commission between 2020 and 2022, You can read more background information and view some detailed pictures of the peacock artwork by clicking here.

I recently created a logo for the Ambassadors Group of NBD Biblion.
NBD Biblion is a foundation that supports libraries throughout the Netherlands and parts of Flanders and provides them with a wide array of services. The foundation stimulates the sharing of information through books and other media. Among other things, NBD Biblion prepares all the books for Dutch libraries so that they have the right coding, are durable and ready for long-term use, offers logistic services to libraries and schools for the management of collections, collects metadata and writes summaries on new publications in the Dutch language, creates specialist machinery for the sorting, printing and plastification of books, stimulates reading through educational programs and provides book recommendation software for librarians and individual readers.

The Ambassadors Group of NBD Biblion was created for the employees. It gives them a place to feel proud of what they do, voice their opinions within the company and share their expertise with the rest of the world. 

The design I made is largely based on NBD Biblion's colourful logo and its corporate identity, inspired by innovation, paper and traditional printing techniques. The crowns represent the value of the employees: they are essential to the organisation and should be celebrated. An ambassador is a true representative of a company, someone that can convey what they stand for.

Dear go players,

I have heard your cries and I have listened!
A while ago I did an online poll to ask what kind of products you would like to see for my go-related designs, and the majority of you mentioned clothing and stickers. 

I've had a shop on Spreadshirt for a while, but throughout the years it turned into a bit of a mess due to all the changes in Spreadshirt's user interface and policies. I recently decided that I would clean it up and update the shop, so I've been working on it religiously.  

Now all my go-related art is purchasable in the form of apparel and other merchandise! It is accessible by clicking here. The shop features worldwide shipping and a wide variety of products, from T-shirts, hoodies, jackets, caps and all sorts of other clothes for both men and women (adults & children!), to stickers, fridge magnets, mousepads, buttons, bags, pillow cases, phone cases and much more.

By clicking on one of the products in the shop, you are able to access all products available in that specific design. You are also able to search by category/type of product by using the drop-down menu at the top of the screen.

If you like any of the products in the shop, but would like the design to your own taste - bigger, smaller, in a different spot on the product, combined with others designs: anything is possible. Send me a message, and I'm sure I can arrange it for you.

Spread the word and happy shopping!

I used my latest marbled papers to create a new go-related artwork. It features the go board from my poster design for the Dutch Open: depicting a match that was played between top Chinese professionals Mi Yuting 9-dan (芈昱廷) and Ke Jie 9-dan (柯洁) on the 15th of February 2023.

This artwork comes in a variety of four different background colors of yellow, green, purple and blue. All versions are available as posters and as postcards in my Etsy shop. You can reach the products by clicking the images below.

This design is also available on T-shirts and other clothing and household items in my Spreadshirt shop: click here.