I have always been drawn to photography for its ambivalent relationship with the ‘real world’.
Photography frames the physical world in constructed realities that are elevated to significance by the sheer act of being photographed.
Through their fragmented perspectives, photographic images serve as mnemonic devices that become knowledge templates of the world we live in.
In the sculptural photographs that I create, I construct abstract models of psychological states.
The lighting and material manipulations make the photographic scenes difficult to place in time and place.
It occurs regularly that people do not realise that they are real photographs, thinking they are either computer-generated or painted images instead.
This shows how much we rely on our knowledge of what the outside world looks like -through personal experiences and photographic depictions-,
to determine to which extend an image is grounded in the physical world and to which extend it is a product of someone’s imagination.
I investigate this by altering the visual perception of my photographic images on various levels:
from the sensory qualities of materials, to the scene construction and the embodied experience.
The photographic works are contextualised in installations that interact with their internal visual language.
These Art Experiments were part of my interdisciplinary PhD research into the relationship between visual imagination and the social brain.
For more information on the research see the website of The Thinking Eye: http://www.thinkingeye.org/research
Picturing Mind Machines