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I create photographic works that evolve out of a sculptural process. I conceive of and construct the object to be photographed.
Although the picture space in my photographs appears to be extremely heterogeneous and broken, the images are not photomontages in the conventional sense. The photographs bear witness to a sculptural process that took place in my studio. The disparate materials, lines of sight and levels of reality were in actual, physical contact with each other.
An anamorphic model – a model that have been constructed for a specific camera viewpoint, appearing distorted when another viewpoint is adopted – is integral to this process.
This photograph draw on the formal vocabulary of Modernism.
I am interested in modernist, suprematist and constructivist artists both because of their revolutionary vision of a utopia embracing art, design, technical progress and a new society as well as because of their abstract formal and aesthetic language, including their particular relationship to architecture. Many of these artists were simultaneously active as painters, poets, graphic designers, photographers and teachers.
Underpinning this work is a distinctive overall composition that I have borrowed from a Suprematist painting from Laszlo Moholy-Nagy. The painting serves here as a structural foundation, into which other visual elements are integrated, to be ultimately combined. On second glance, however, the compositions revert back into the various separate components – constructed architectural model, photographic surfaces and everyday objects – that first came into contact in my studio.
I work with both photographic and painterly works of Russian Constructivism, bringing them, through an act of formal/aesthetic transfer, back into the present. My work uses the medium of photography to both reflect on and interrogate the aesthetic of Modernism.