By creating drawings which are difficult to look at, in which the viewer instinctively wants to turn away, Slagboom aims for a certain image resistance. He attempts to achieve this not only in a thematic, but also in a formal sense. This therefore brings him a subtle yet very definitive separation between the world of the subject and the world of color. The scene in which the female figure empties her bladder on an (apparently) lifeless body is depicted in soft blue and pink tones (interesting to note here is that the color blue is used to depict both the dead body as well as the living, the latter of which to a lesser extent also emits a sparkling glow. It is almost as if Slagboom suggests that death already exists in us, the living. Or, in the words of the Belgian drama author Maurice Maeterlinck, The living are the dead on holiday. The brightness and almost sweet charm of the colors as well as the tenderness that is visible in the pencil lines contrasts with the often explicit scenes they form. In this sense, the color does not encourage a benevolent attitude towards the subject, but rather, casts it in doubt and causes its rupture. Just as vibrant colors in nature do not uncommonly indicate poison for humans, so do Slagbooms color choices (in part) poison the subject. Its the confusion [of the compressed, contradictory themes, GS] which create space in which the world of color is inserted, said the artist. It is the color which detaches the topic from the possible cliché meanings while at the same time complicating the image and opening it to a multitude of interpretations. Slagbooms visual style and technical signature are extremely individualistic and recognizable. His practice is primarily an intellectual activity, as his drawings appear to be related to sub consciousness, and are created (as much) by carefully observing and analyzing his own personality, immediate environment, and the world around him. Slagboom draws parallels and translates them through the use of rich imagery, and ratio and intuition go within his practice hand in hand. Texts by: Nickel van Duijvenboden, Grete Simkuté