Moscow Intervention

I create photographic works that evolve out of a sculptural process. I conceive of and construct the object to be photographed. The starting point of an idea for a photograph is often a found image, sometimes from historical sources, which shows a prototypical architectural situation. To realise my idea, I construct the subject matter of the photograph with the help of cardboard models and a diversity of everyday objects. This construction often involves anamorphic models, i.e. models that are built for a specific camera viewpoint, appearing distorted when another viewpoint is adopted. The models are usually covered by ink-jet prints of photographic structures, whose perspectives are also trained onto the camera viewing point. The models are constructed according to the rules of linear perspective, appearing right to us when the predetermined camera viewing point is adopted. The constructed object is photographed in its actual surroundings using a large format camera. The disparate image fragments and materials are united through photographic reproduction into a single image surface. In this way, my photographs become a meeting point for divergent lines of sight, different scales, and different spatial and temporal planes. The initial idea ends as a single photograph, mounted behind Plexiglas that takes on the format of the constructed object. I am interested in systems of image organisation that don’t follow the established norms of perspective representation. The fact that a photograph, with its monocular way of viewing, is assumed to be a reproduction of reality makes the medium of photography the ideal tool for me to experiment with new ways of structuring an image. In the same way that cubism uses painterly methods to reflect on and break with the conventions of representation in painting, I want to use photographic methods to break with its ingrained representational conventions.