In the concepts/projects “Landscapes” "Water" "Communication"  I focus fundamentally on the times we live in.

 

This work exists of photographic material. The pictures are not always sharp, have a strong roughness, and show brutality. Sometimes even the remains of the manipulation can be seen.

These raw externals of the pictures seamlessly fade into the raw, partially deconstructed society. This work is created in the context of a degenerative era.

The economic implosion, the multi-ethnic problems, and the sociological impact of changing life patterns.

Landscapes are stripped of their monotonous, predictable aesthetics and make place for different surprising aesthetics.

What remains fascinating is the creation of "the image" and its relation to reality.

How we react to images is mostly the result of automatisms (oh's and ah's), in other words: the image has become corrupted.

It is a very subjective process where I work associative: infectious associations that are not finite.

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About multilayeredness

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Multilayeredness is an essential condition.  Either way, a work must encourage reflection, thought, release, and experience of emotions.  It is the multilayeredness that keeps you attached to the work and makes you doubt whether you would leave the work or not

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About communication

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Does it matter

how the word expectation is pronounced?

Or that its sound pattern is different from that of the word desire?

 

And is desire a long-held expectation?

Or is it just the other way around?

 

This is why, I can never mean

what you mean

You can never say what I say:

 

my syntax has become abstract.

 

And maybe it is also why

my words crumble

before they even reach you.

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On boundaries and limitations

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We draw boundaries against what

we don't know.

We draw boundaries against emotions that

get too close.

We draw boundaries against what

we don't understand.

We draw boundaries when others behave differently.

We draw boundaries against things

we don't recognize.

 

By limiting ourselves, we

also, limit others.

By limiting others, we

also, limit ourselves.

From within such limitations

we communicate

in a predictable and therefore

automated way:

our vocabularies are uniform

 

I can counter your every word

 

My language, unrecognizable, becomes incomprehensible:

The unsayable

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About The Unsayable

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The Unsayable

 

Is where the black lines are.

They are where they are, immovable

and nobly beautiful.

But they are not sentences,

not words, not even letters and

certainly not sounds.

Language has been exchanged for lines,

black stripes.

The unsayable as such,

beautifully and carefully presented to you.

 

We just have to accept it.

You just have to accept it.

I,

I will just have to accept it

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About  the Beautiful Borders Series

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Boundaries are presented metaphorically.

There are also physical limitations such as curtains, doors, walls, windows and sometimes they have a strange beauty. It is the deceptive beauty that makes you focus on the boundary and while you do see the relative of such beauty.

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About  the Questions of Travel Series

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Traveling and especially mass tourism have become somewhat apocalyptic.

Long before the COVID-19 period, I saw the mercilessness of an increasingly surrealistic form of tourism: far, rare, original, expensive.  The actual intention of traveling, getting to know and respecting cultures, had become a factor that was completely neglected.

These photos are the opposite of the polished tourist photos.  The blurriness of the photos is a metaphor for non-viewing. The modern itinerant man is not able to look as he should.

At the same time, I discovered the poetry of Elizabeth Bishop.  Her poem “Questions of Travel” fitted in seamlessly with this.

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