During the 1988 - 1998 period environmental issues were Jeroen Huismans major subject.
He examined the era of environmental protection, as a new consiousness and necessary ethical challenge in history.

From 1988 till 1991 Huisman worked on a poison-free paint palette based on linseed and rape oil. His goal was to make most of the colors himself, but for some paints he still had to go to a sustainable industrial producer. Materials he also used freqently were, for instance, pumice powder to thicken up the paint, flour, sand and coffee. He also used lead, as a dualistic addition to paintings, despite its toxicity; a metaphor for the human inability to quit with shiny aesthetics. At the same time lead is a fantastic nature product too, of course.

Huisman also used recycled and technical stuff in his work, often little electronic elements that he took out of broken audio and TV equipment. In the case of fotovoltaic (1993) and ode to the wind 2 - 1994 the technical details added interactivity to the works.

Between 1993 and 1998 the computer became a more active drawning tool, with which Huisman made several series of capricious textures and liquid forms.