How to dissapear. Portraits of people who (dis)like being photographed.
Escher's Garden, 2015
Published in Grey Magzine #15
A landscape, organic yet strange. Shapes as if drawn with a ruler, far from any natural structure. As the focus shifts, the landscape changes. Created in memory of the dutch graphic artist M.C. Escher, famous for his work with optical illusions, platonic solids and endless patterns, often based on the shape of the triangle.
Zum Metzger muss man geboren sein, 2017 52 pages, digital print, 20x24 cm, edition of 8
„He was such a nice guy.“ „ I never thought something so awful would happen in our town.“ These are the typical quotes we hear whenever a serious crime is shown on the news. We all know there are bad people out there, we just don‘t expect them to live next door. It is a disturbing feeling to realize one has been fooled by a friendly facade. The betrayal, however, is always twofold...
(K)ein Ticket nach Tokio, 2015
Somewhere in Japan, or maybe somewhere else.
Like Ghosts, 2014
36 pages, digital print, 15x20cm
edition of 60, self-published
In the pre-digital age the paper negatives that came with peel-apart instant film used to be nothing but trash. While being necessary for processing the image, their opaque flipside made it impossible to put them in an enlarger like a regular film negative. What was left after glancing at the modern miracle of instant film were thin white sheets of paper with no further use.
24 pages, digital print, 22x16 cm, edition of 5, self-published
„It started back in 2010 with Dirk Serries’ project Microphonics. I had met Dirk Serries a couple of times before, and he told me he had done some shows in living rooms. At that point, I thought “Wow, how cool is that, having an artist playing at your home! Could I do something like this? The idea somewhat moved to the back of my mind until the next time I met Dirk at one of his shows...“
Life In A Hole, 2015
28 pages, digital print, 15x20cm
edition of 80, self-published
Another year spent in crummy clubs, squatted houses and poorly lit basements. Slowly drifting away from the routines I used to follow. Those on stage seem just as lost as I feel. While everything falls apart, the camera remains my last resort and safe place. It's a life in a hole, and I have yet to reach the bottom.
Blinded By The Dark, 2013
28 pages,digital print, 15x20cm
edition of 50, signed & numbered
"What My Bloody Valentine do with reverb she does with her camera: create a wide, open room filled with blurry atmosphere."