Starting from found footage, archival materials and objects, my current works thematize notions of the photographic. Oscillating between field research burgeoning autopoetic systems and rizomatic structures, they arrive at variable arrangements and partly fixed formations of confrontations, startingfrom the material itself. In their totality, they form a personal methaper to photography.
Existent, but only in finite form as well as in permanent latency, it [photography] is for me a visual construction, composed of visual experience, seeing and memory itself. Applied to a surface in order to prevent the original storage material (film, glass, code) from being too permeable and to make such a visualization possible in the first place, without which the human eye would have been deprived of the actual, presumed-real perception of a photographic image. The, as it were, fluid state of a photograph and the changeability within the material - independent of the image on top - is of interest here. So is the historical shift of various usage practices of photographic or light- generated images in the context of photography and closely related processes.
The trigger for these works was the supposed clarity that revolves around the notion of the photographic. The end and beginning of an image seem to be defined, despite all disbelief towards this medium, photographs or images influence our everyday life massively and mostly without any questioning. In the interplay with standardized, classical formats, photographic image carriers without directly identifiable images or still known variables from photographic handling (for example, mounts), as well as through combination with objects that also come from non-specialist areas, my works on the subject are both an attempt and an experiment in the encirclement of what for me is the actual, photographic concept.
