This project consists of diptychs, like the double spread in a book; each side instigating a communication with the other and amplifying the ambiguities that exist within each of them. Slowly, the two sides amalgamate and a new composite image is formed.
The work closer still is an investigation of humans flowing between public and private and between the intimate, volatile and the large, static spaces. The urban worlds of strangers moving through modernist architecture and the space between buildings are passing by my viewfinder where I can use photography to generate contexts or create encounters, heightening the ambiguity that characterizes the city. It is also a quest to bring a new, narrative perspective to architectural photography; our movements projected upon the anonymous cities of the 20th century.
More so than in traditional portraits my subjects’ intentions are either concealed or unknown to the viewer - my subjects become archetypal.
closer still represents a movement, a continuous attempt at focussing, at coming closer. This blurring of the sharpness is only possible in photography. This allows the gaze to wander, seek and eventually find its resting place for a while.
In my view photography creates an extension of space: The outside world continues in its flow whereas the space inside the camera is condensing light into an almost scientific preparation, a flaying of time that points back at the inner world of the photographer himself: How can he, I, be in the world, react to it.Time is preserved by photography and of course the photograph in its turn ages.
