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