When I created this body of work, I asked myself, "What is reality"? I then proceeded to break and twist any sense of reality in the image I was working with. I'm fascinated by what the brain thinks or wants reality to look like. I wanted to question the space between real and virtual places. I started this body of work with photographs of New York City buildings. I manipulated the images with Photoshop to manifest this divergent sense of stability. My practice provides a useful set of allegorical tools for maneuvering with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. This body of work represents the personification of a city. With this work I want to create a sense of wonder and amazement. I want to give the impression that the architecture is alive and breathing into its space. Similar to the way virtual worlds have expanded over the years and continue to take deeper breaths to expand into the world around us, this work is alive. By applying abstraction, I try to create works in which the actual event still has to take place or has just ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place. My photos are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. By putting the viewer on the wrong track, I create work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. My works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less traditional ways and often-developed in absurd ways. With Plato’s allegory of the cave in mind, I make work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
I'm creating movement in the architecture as if it were alive.
