Van Eyk says that his main inspiration is the street. His graduation installation creates a fictitious street in his studio. The visitor has to walk down the street, turn a corner, peer into a dead end and continue… The walls were hung with pictures, some part of a relief, at other times the picture being the wall itself. Instead of a contemplative detachment, all of this forced the viewer to explore the details at close quarters, both by sight and by touch. The structure made of lathes and sheets of wood is composed of pieces processed in various ways, changing with each step. This is an art for a city whose dynamic is translated by Van Eyk into an abstract, associative composition. The adventure of revealing scratches, bits of tar, or spray-painted lines is much like a walk through the city outskirts. Working methods attain an artistic quality, and random traces of human activity become structural elements of composition. Van Eyk takes on the burdensome baggage of predecessors (from Abstract Expressionism, graffiti and art contemporary installation), but carries it with verve and a light touch.