Ultrabright, close to being deaf

My work focusses on the materiality of our surroundings; the looks, the tradition and use. I’m finding this in the way interior spaces show themselfs. Interior spaces take on poses, almost like human poses, to
impress or comfort. I’m intrigued by locations with extraordernairy en strange solutions in their design, and recall questions about the use of materials

In the provisional way of making a space neat or usefull,
you can see how people deal with limitations. What comes out is something very personal, but made out of common, cheap materials used all over the world, which are time related and capable of fashion. In other situations like in fancy office buildings, employees are encouraged or pushed to be succesfull, by the shiny tiles and durable oakwood. Materials as a social statement used as a skin over the bare construction.

On these locations I make my photos or video-work. For me, the physical appearance of the photo or video-screen relate to the subject I photograph. The subject as well as the carrier literaly exists out of just a very thin layer. It’s something where you have to believe in, to make it work. Therefore I place my photos in the line of spatial art and sculpture because the way I present it is related to the subject on the picture.

It’s an investigation in materials and metamophosis of the space. In one of my latest photoseries I make small interventions in office locations to intensivate the manipulative feeling on the location; for me a new combination of installation and photography.

Place against itself

1. The executive's teeth are slightly stained I (colourphoto)
2. Ultrabright, close to being deaf (installation)
3. Place against itself (colourphoto)
4. The executive's teeth are slightly stainend IV (colourphoto)
5. Ultrabright, close to being deaf (installation)
6. Spaceball, a year ago (colourphoto)