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, the sociological impact of changing life patterns.
Landscapes are stripped from their monotonous, predictable aesthetics and make place for a different surprising aesthetics.
What remains fascinating is the creation of "the image" and its relation to reality.
How we react on images is mostly the result of automatisms (oh's and ah's), with other words : the image has become corrupted.
It is a very subjective process where I work associative : infectious associations that are not finite.
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 round?
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.
On boundaries and limitations
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
in a predictable and therefore
our vocabularies are uniform
I can counter your every word
My language, unrecognizable, becomes incomprehensible:
About 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,
The unsayable as such,
beautifully and carefully presented to you.
We just have to accept it.
You just have to accept it.
I will just have to accept it
About the Beautiful Borders Series
Boundaries are presented metaphorically.
They 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.
About the Questions of Travel Series
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 it should.
At the same time, I discovered the poetry of Elizabeth Bishop. Her poem “Questions of Travel” fitted in seamlessly with this.