The human body and the machine have always worked their magic on me. What fascinates me is the link between bodily processes and illnesses and processes that take place in machines and materials. I seek out the interfaces: when I succeed in discovering these points, I am very moved. Often, processes in illnesses become encoded in a new aesthetic language communicating with other universes.
My work conducts a dialogue with traditional photography, poetry, painting, and bodywork, as it strives to clarify the essence of imprinting the image. Photography is my experimental laboratory for the deconstruction and reconstruction of images.
My sources are varied; among them are X-rays, books, newspapers and road maps. The images seduce me, acting like a secret I want to decode. In my latest works, the materials constitute a significant element in the process, sometimes dictating a new, unique language by their nature.
Over the past few years, the process of scanning has become one of my major tools for art-making. In contrast to the camera lens perceived as the natural continuation of the human eye reflecting subjective observation, the scanner functions as an objective eye without any preferences. I use different types of scanners, such as picture scanners, transparency scanners, and a 3-D scanner.
During this Corona pandemic, I can point to two new aspects of my work in terms of subject and materials: the element of illness has become intensified in my work, leading me to use a tremendous amount of office staples in numerous compositional elements. The staples, found in my home office, have now become part of my latest series of works done under conditions dictated by the health guidelines.