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Laissez Unfaire, 2011-2014, archival digital print on epson matte white paper, images 77 x 115 cm (30 x 45 in), text follows.

Contained in the smoking objects of affection, resides a residual cuddle to comfort the machined parts of our attire. A friendliness, a posture, a pose, a dormant object sits perched or reposed, repurposed for considering a persona. Portraiture of the objected, collected, gathered and unsewn. The after materials of our daily wear create a new life of their own, as presented as image projection, archived, and mounted to the wall. Behold a box of treasure to meditate upon. A centrepiece as real, imaged, once worn and given eternal life through memory as memorium.


Every which wayEverywhen, Every other (in front of the other), 2015, c-print.

Every which way depicts single frames, made of triple exposures, in a triptych format. Converged in each frame are three subjects chosen for their symbolic and material properties: roses, water, and a third subject as a variable. These visually non-linear stories seek to portray the image as closer to the event of lived experience, making visible the cacophony of detail available prior to the event settling and being replayed as a (memory) story. Each panel of the triptych and the three panels as a whole present a framework pointing toward the action of detail selection as a primary activity in creating narratives. Screen memories are described in Freudian psychology as a filter which blocks early childhood memories. Using the surface quality of an image, which can be interpreted as a screen, the triptych offers the screen as a surface of water, where all experiences are present, moving, and rising up, while at the same time visible from such surface. A question of depth in terms of perceiving recalled images challenged by the visibility of choice and recorded time proposes to viewers all that can be seen as present, but that which features in form or color draw each viewer to their own interpretation or narrative creation.

In one and out the other, 2014, c-print.


A Parting Lot, 2013, c-print.


Planted shadow,  Shared volume, Yarn soup, 2015, c-print.

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Hourglass, Golden cup, Tall stand, 2015, c-print.

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Sublime domains, 2013-ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.


Equation, 2014. Photographic Print, Edition of 2. Artist proof available. An image as material evidence of a philosophical proof – comparison simultaneously centralises topical similarities while decentralising the set, acceptance of differences strengthens the group and the reference remains unknown.






Inter space, 2008 / 2009, photography. 25.4 x 15.24cm (10 x 6in) Editions of 3. Images followed by text.

Landscape, terrain; Areal view I, fjord valley; Landscape, liquid splash; Approaching view; Areal view II, temperature map

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Liminal metanoia, 2009-2010, c-prints.

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Not Even But Almost, 2009-2010, c-prints.



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