BLACK AND WHITE MINIMALISM MAGAZINE
Reduction is increasingly a central motif in my work.
The simplification of form, the return of photography to its most basic optical rules, and the subsequent reduction in color, form the basis of my photographic work.The resulting implementation, with self-made pinhole cameras, I see as a logical consequence of this: an art of “less is more,” which for me is an antidote to a time I experience as fast moving and restless. Not only in the conceptual approach but also in the actual working process. I am fascinated by the possibilities this confrontation with fundamental photographic methods offers me, in the conceptual and compositional area as well as in the selection of the materials.
For each project and series, I choose specific films and papers. I prefer the use of traditional materials, and I try to use their characteristics in such a
way that material and imagery together create a harmonic and coherent whole. Editing a Saul Leitners quote, I would say that sometimes I am amazed by how much you can do as a photographer with such a simple thing like a pinhole camera. Edward Steichen said: “No photographer is as good as the simplest camera.” Using the most simple camera, I try my best.
shadows on concrete
The texture of the material creates in interaction with light spaces, that seem to be free of geographical determinants. Photographs emerge, that may not be geographically located, and,through the absence of any cultural affiliation, contain the freedom to be viewed without prejudices.
How do we expect a certain place to look like ? Are we irritated if we discover that our first imagination is wrong ? The actual origin of the image looses importance and we are forced to ask ourself: What happens if we can not distinguish the known and the unknown anymore ?
All the images of the shadows on concrete series are taken with a self build 4×5“ pinhole camera.