The two spaces are very tall but narrow at 3,3 x 4,6 x 1,5 meter each. Only a small part is visible from the doorways, once you are inside you get the full experience.
The central pieces are back-lit and act as general lighting to an area that would otherwise be completely black and look like dark holes when vacated. When entering the space, motion detectors activate spotlights, highlighting the figures mounted on three levels: directly onto the wall, on shaped MDF and on shaped PVC, hanging freely.
IMPERFECT: SUBJECTIVE DOCUMENTARY
Photography mixed with oil, ink and/or watercolour
This body of work is strongly connected to a sense of place and a person's connection with it -- the things and places I choose to photograph are often overlooked and not seen worthy of care and attention, but that is exactly what I want to give them. I'm not interested in sunsets and monuments, but in the small things that in themselves can be very grand indeed.
A photo is always subjective and the photographer has made a number of choices.
Yet we tend to look at photos and think: that's Harestad church, forgetting that it's only a representation "Ceci n'est pas une pipe".
The traces of the hand acts as a reminder that a photograph is indeed dependent on reality, but there is a person behind the camera setting the agenda, calling the shots.
BLACK, WHITE AND THE GRADIENT IN BETWEEN
Portraits captured in one slow-speed-shot animating the face, showing the person from different angles simultaneously
Study for a planned project.
The idea is to interview and photograph people from a multitude of ages and interests.
In a world where everything seems polarised and the ones who shout loudest are the ones we hear, I want to capture the greyscale and subtleties of the human condition