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W(E)AVES

2020, 2021

series in progress

Must a photograph once have been captured in order to be validated as “true”? And how does its singular meaning alter when it contains multiple latent images and hidden data?

Photography reveals itself, rather than its maker.

By taking this statement into account, I compose digital negatives by ‘interweaving’ own photographs along with appropriated pictures, coming from various analogue and digital sources. By using post-production softwares, I both apply self and automatically generated processes.

Printing the digital negative (with a led-printer on a transparent) and exposing it onto light sensitive paper in the dark room, is when and where one might argue the image becomes a photograph once again. It is a circular process, where I examine my positions both as a maker and an operator.






Pixelgram


2020-

4 x 24 cm x 18 cm
Photograms, printed by hand on baryta fiber-based paper
Unique prints

Time alters between dimensions. While the crouched paper is unfolding slowly (by intervention from my hands) into a flat surface, lighttraces of pixels (enlarged, coming from my smartphone) are being projected.






Marks and Masks


2018, 2020-

11 x 18 cm x 13 cm
Chinese ink, chromegenic ink, chemicals, gelatin silver paper
Unique prints

Previous drawings of figures, forms and symbols resulted in these marks. For a couple of years I drew figuratively. One drawing led to another, but my focus shifted to the physical and time-based act of drawing and painting. During the same period I made marks onto light sensitive paper in the darkroom, combining chemicals, chromogenic- and chinese inks. The prints are always unique and part of an ongoing work, which I enjoy making on a longer term.






Untitled #1 (Mark)


2018-

24 cm x 18 cm
Photogram, printed by hand on baryta fiber-based paper (matt)
Unique print