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.
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PHD ART EXPERIMENTS |
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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
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SPACES |
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Maps |
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Rooms |
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Views |
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Spaces |
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WRITING
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Picturing Mind Machines
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