1 Photography can create the illusion of reality. It exists within the wider realm of ‘the photographic’.
2 The essence of my artistic practice is the act of creation through craftmanship and appliance of a wide variety of techniques both old and new.
3 Psychology and philosophy are implicitly present in my work through the way I process photographic material.
4 Historical images and ‘the archival’ function both as sources of inspiration as well as material to be applied in the work itself.
5 A substantial part of my projects can be considered amalgamations; eclectic mixes of conceptual notions and visual elements that together form a network of associations and connections to be ‘understood’ as a whole.
6 My work ultimately originates from the realm of metaphysics.
2 The essence of my artistic practice is the act of creation through craftmanship and appliance of a wide variety of techniques both old and new.
3 Psychology and philosophy are implicitly present in my work through the way I process photographic material.
4 Historical images and ‘the archival’ function both as sources of inspiration as well as material to be applied in the work itself.
5 A substantial part of my projects can be considered amalgamations; eclectic mixes of conceptual notions and visual elements that together form a network of associations and connections to be ‘understood’ as a whole.
6 My work ultimately originates from the realm of metaphysics.
Artist Statement
I like to play magic with photographic images. To me, one of the most important qualities of photography is it’s possibility of creating an illusion. An illusion of reality. In this sense, most of my work I do not consider as being photography per se but rather ‘photographic works’; that is – photorealistic representations, from the realm of ‘the photographic’. This idea emerged already at the very beginning of my practice, referring to the images of Modische Atlas der Anatomie as ‘photochemical works’. Now, at the dawn of the age of AI generated photographs this distinction again proves it’s relevance in understanding the status of photography, both in the world at large as within the universe of my personal imagination.
I work across photography, moving image, book making, installation, texts and sculpture.
In this, craftmanship and techniques function as the main catalyst in the artistic process.
In several projects I even created images on the very act of creation – I call them performéances – to be understood as a residue of performances held to invoke the spirit of creation. Both as an act of creating as well as the embodiment of conceptual ideas, craftmanship and techniques infiltrate and cross-fertilize both the content and the visual appearance of the works.
My current artistic practice revolves around the relations between the way I process photographic material and psychological and philosophical themes. Together with the incorporation or paraphrasing of the archival, it interweaves archetypes, visual clichés, conceptual notions, psychology, philosophy and mythology in an amalgamation of the phantastical.
But despite the abundance of visual aesthetics and techniques applied, for me the ‘photographic’ – being a representation of reality which determines our perception of reality itself – stays at the center of my practice. As a metaphor for the notion of philosophical idealism, it discloses the realm of metaphysics as the principle source of my work.
I like to play magic with photographic images. To me, one of the most important qualities of photography is it’s possibility of creating an illusion. An illusion of reality. In this sense, most of my work I do not consider as being photography per se but rather ‘photographic works’; that is – photorealistic representations, from the realm of ‘the photographic’. This idea emerged already at the very beginning of my practice, referring to the images of Modische Atlas der Anatomie as ‘photochemical works’. Now, at the dawn of the age of AI generated photographs this distinction again proves it’s relevance in understanding the status of photography, both in the world at large as within the universe of my personal imagination.
I work across photography, moving image, book making, installation, texts and sculpture.
In this, craftmanship and techniques function as the main catalyst in the artistic process.
In several projects I even created images on the very act of creation – I call them performéances – to be understood as a residue of performances held to invoke the spirit of creation. Both as an act of creating as well as the embodiment of conceptual ideas, craftmanship and techniques infiltrate and cross-fertilize both the content and the visual appearance of the works.
My current artistic practice revolves around the relations between the way I process photographic material and psychological and philosophical themes. Together with the incorporation or paraphrasing of the archival, it interweaves archetypes, visual clichés, conceptual notions, psychology, philosophy and mythology in an amalgamation of the phantastical.
But despite the abundance of visual aesthetics and techniques applied, for me the ‘photographic’ – being a representation of reality which determines our perception of reality itself – stays at the center of my practice. As a metaphor for the notion of philosophical idealism, it discloses the realm of metaphysics as the principle source of my work.