Although my practice is irrefutably linked to photography, it embraces the sculptural. At its core lies a preoccupation for the photograph’s conflictive nature as both a body in space and an image’s carrier. Moreover, within my work there is always the aim to further understand how information is structured, within visual, physical and architectural frameworks, and how we maneuver our way through these information systems. I am interested in the role memory and culture play in our reading of both images and objects, and art productions relation to this as a gradual reshuffling of cultural forms through their strategic re-use and transformation.
My work is largely informed by the Yale Art Gallery’s collection of sculptural and conceptual works from the 60s-80s, and by reading H. Belting’s “An Anthropology of Images.” Appropriating the particular aesthetics of this period, I have sought to create works that lie between being formalist abstractions and blunt re-iterations of either the medium or the subject, which the photograph both describes and engenders. These, in a tromp l’oeil fashion, play on the dichotomy between the photograph as reference to a thing outside itself and its physical presence in the world.
Following on this path, I am now working on pushing photography’s material, spatial and referential limits, while taking into account the image’s historical role in determining our understanding of space. I am interested in exploring how space and landscape is brought to us by images while addressing the contemporary erosion of visual data within this process. Acknowledging the image’s transit through both digital and analogue systems, the processes I’ve taken play on the migration and democratic sharing of images within contemporary media.