In the context of Vleeshal art prize laureate Pieter Slagboom’s exhibition As Long As the Potatoes Grow, artist and writer Nickel van Duijvenboden was invited to respond to Slagboom's work. The performative intervention, in which speech, singing and percussion congregate, was largely improvised and responded to the physical space of the monumental Vleeshal, and the content of Slagboom's layered drawings.

The artistic practice of both Van Duijvenboden and Slagboom can evoke an uncanny and pervasive sensation, which is the result of an inevitable directness. The pencil drawings by Slagboom penetrate the viewer’s mind through his idiosyncratic drawing style and raw thematics. Slagboom's work refers to the major themes of life, such as death and sexuality, but also depicts his inner world. This also concerns Van Duijvenboden's work, which is often based on texts from letters. The use of correspondence as medium allows him to expose an existential despair to his beholder.

Van Duijvenboden connects Slagboom's physical effort to draw on a large scale to the movements and gestures that comprise writing, singing, and producing sound with various objects. They are physical expressions of processes that belong to an inner world. The resonances of the voice and idiophonic objects are not only produced by the body, but also penetrate it, through its cavities and intestines. As such, the inner world and the outside world temporarily become one.