1 My practice is informed by affect theory, which guides my interest in how images generate emotional and sensory currents before they become thought ︎︎︎.
2 My approach draws on media archaeology, situating historical visual media within a process of continuous reinterpretation and reactivation ︎︎︎.
2 My approach draws on media archaeology, situating historical visual media within a process of continuous reinterpretation and reactivation ︎︎︎.
Artist Statement
I work with historical images taken from my archive of reproductions from old books. By removing them from their original context and transforming them with different techniques, I allow new forms and meanings to appear. My practice includes photography, video, publications, installations, and sculpture. I see my work as a form of attention – a way of listening to what exists beyond language. I want images to resonate not only as representations, but as experiences that can be felt emotionally and through the senses.
For me, the photographic image is a passage toward metaphysical insight, and material is an active partner in that process. Craft, affect, image psychology, and philosophical reflection converge in my work. By reactivating historical images through both digital and artisanal methods, I create a sense of time in which the past is not fixed but opens up to the present and possible future.
My goal is to explore how photographic heritage – from encyclopedic reproductions to art-historical images – can gain new meaning when activated through contemporary techniques and material research. My archive becomes a laboratory where history is not simply repeated, but reshaped into a visual language that resonates today. This continuous transformation of historical material forms the core of my practice: creating new meaning from what our collective memory has left behind, and letting these images speak again in the present.
I work with historical images taken from my archive of reproductions from old books. By removing them from their original context and transforming them with different techniques, I allow new forms and meanings to appear. My practice includes photography, video, publications, installations, and sculpture. I see my work as a form of attention – a way of listening to what exists beyond language. I want images to resonate not only as representations, but as experiences that can be felt emotionally and through the senses.
For me, the photographic image is a passage toward metaphysical insight, and material is an active partner in that process. Craft, affect, image psychology, and philosophical reflection converge in my work. By reactivating historical images through both digital and artisanal methods, I create a sense of time in which the past is not fixed but opens up to the present and possible future.
My goal is to explore how photographic heritage – from encyclopedic reproductions to art-historical images – can gain new meaning when activated through contemporary techniques and material research. My archive becomes a laboratory where history is not simply repeated, but reshaped into a visual language that resonates today. This continuous transformation of historical material forms the core of my practice: creating new meaning from what our collective memory has left behind, and letting these images speak again in the present.