work
Since 1989 I’ve been working through the photographic image, though I often include moving images and architectural elements. My work can be distinguished in phases that differ in time, material and content although they do indeed overlap. In all work, the image, the actual space and the technique, found a common ground from which concepts are extracted and whose messenger is the illusion. In that sense I’m in the first place a visual artist and secondly a conceptual one. Art defined as its institutional and public activity, I believe more than ever that the personal contribution is its raison d’être. Image and space including reality, is a thrill.
selected works 2005-
| Focus on photographs ability to move the idea of place and cause a confusion by its mere appearance- the right thing in the wrong place and vice versa. A specific interest in letting a person be the vehicle of the story told through the installations, getting close to a kind of portrait. Using low resolution material as a method to make illusion tangible. |
Looking at his
landscape
Happiness of History
and Place
selected works 1998-2001
| A serial of works questioning the art object as commodity and the art scene as something deeply conservatory, still being there with my work. Light as material. Ending in doubt over a possible return of the modernistic art object. Moving from the jet-ink prints back to the photographic image in its new form, without passing trough negatives. |
selected works 1993-98
| The jet-ink prints and the work with archive material opened to the image as something ephemeral and circulating, just as the human body experiencing them. The take-over of space enforced by architectural elements. The content of the images focused on acute situations in order to underline the weakness of materials constituting them (ink on thin paper glued directly on the walls). |
selected works 1990-93
| Coming from a sculptors training, working with photos was a revelation; the photographic image is the image's equivalent to the Ready Made. The problem was not primarily of doing but of choosing. I picked up some, among photographers, neglected aspects such as scale and the photographs relation to space. |
