Paleolithic cave art was made by customized painting techniques, one of which is the use of the mouth as a compressor to spray paint against the hand which makes a silhouette appear on a wall: the predecessor of aerosol. The long history of painting since leaves painters exceedingly little space to find a personal application of existing methods in order to find a truly personal visual language. The use and manipulation of spray paint in the work of Frederique Jonker should therefore not be taken lightly. As it is applied, scraped and reapplied in several layers to the canvas, semi-translucent layers form a 3-dimensional trompe l’oeil of delicately formed spaces. Balancing harmony and energy, the movements within the painting can all be traced back to the body of the painter; large, fluid gestures reveal the rhythmic flow, simultaneously a dance and a trance, which in turn reveal the state-of-mind with which these paintings have made. The physical, mental, tonal and musical harmony and/or accelerations on the canvas embody Jonker's personal odyssey, which the viewer can follow in reverse order by letting the eye trickle down each layer of paint, starting from the surface.