RUISSEAU (HOLOCENE), 2018, film photography, 68,14 x 101,6 cm (26,8 x 40 in). Streams of sand, water, and remnants of stone in Lofoten, Norway, create formal currents and visual abstractions.








INCARNER DES ROSES, 2016, film photography, sizes variable. Incarner des roses means to embody the roses. The rose has long been identified for beauty and symbolic memory of the process of life. The series carries the final blossoming to a final meeting of the river, as a current of life. The artwork was made a mistaken gift. The bunch of roses a trope of romance, signifies a formality that begs of no specific recipient. The gift was denied for its lack of direction. The roses were taken to the stream, photographed and developed to highlight the colours and forms.








EVERYWHICHWAY, 2015, film photography, sizes variable. Triple exposure images merge three subjects chosen for their symbolic and material properties: roses, water, and a third subject as a variable. A portrayal of the potential for a single image to represent the multitude of layers in a lived experience, make visible the cacophony of detail available prior to the event settling and being replayed as a (memory) story. Screen memories are described in Freudian psychology as a filter which blocks early childhood memories. Using the surface quality of an image, interpreted as a screen as a reflective surface where all experiences are present, moving, and rising. A question of depth in memory recall, misunderstanding and reforming time offers viewers a look into a personal interpretation of narrative.