Photo Work

Reality is often more absurd and bitter than you could imagine…We are inundated withNews photo’s and this also makes us jaded in a certain way. Our conscience has become a casual phenomenon of our time. Today it is here, tomorrow it is gone. For me, the title Sense of the Damaged, refer to the fact that these people matter. These refugees are not numbers but people. 

It is my wonder about the world we live in I try to capture in my work.

The Power of Paralysis is a series of photo’s and a video work in which I am inspired by the current sense of chaos and unease associated with the transition to a new era.  The corona crisis, climate crisis and all the agitation in the world are pressing us on the hard facts. We have to learn to deal with the fear that big changes bring.  

CYCLES:  We say each time in a different way goodbye. Farewell in the broadest sense of the word. Saying goodbye to your childhood, or your dreams and ideals, the growing apart of a friendship, a love grown cold, your child who is mature and independent and definitive goodbye that death brings. I show troubled emotion in ‘our’ haste relationship to others and to ourselves.

In these series I captured moments who normally go too fast to photograph. Stopping this movement works as a metaphor for channeling the emotions of the portrait one. What remains are the traces of past events in their face and body.

The guiding principle of Thuis, Home, Heimat is the endless stream of photos of refugees that I see on a daily basis. 
I have consciously chosen to work with Western people. By letting Western people figure in my work, I want to bring the refugee problem closer. This is not something that is far away and therefore does not concern us. This can happen to us all.

The personal and emotional history which every man carries is the premise of my work. Memories are experiences reflected in someone’s face, glance or posture. They are signals, as elusive traces in the body: manifest or suppressed. I examine the language of the body in relation to its environment. 

In the photo series CLUE there is always one element passed to the next image. I choose environments where elements are concealed and on the other site reveals. It is an attempt to penetrate behind the layers of reality. As an archaeologist I filleting these layers behind the surface.  As a viewer you try to understand their story and motivations, like a detective looking for clues, however, these photographs raises questions rather than giving answers.