ARCHIVE 1996 - 2005
'BUT NO ONE WAS SO KNOWN IN HER VOICE' 1996 - 1999
YPORT (49.74202, 0.3033934) 1998 (photos) 2002 (photos printing)
three times exactly the same spot from the point where the sea photos of the canal were taken at a different time of day
DOUBLE VIEWS 1999
Polaroid negatives
CLOUDS 1999
4x5" negatives without making prints of them (cutout just as I envisioned it)
previous to THE GREEN RAY 1999 - 2000 (photos) 2002 (photos printing)
KODAK barium paper / two from four framed 50 x 62 cm 2025
'BUT NO ONE WAS SO KNOWN IN HER VOICE' 2000
Collection Inerlinden CV four of the eight photos and a portrait photo (edition of two) BLAAK 16, ROTTERDAM 2010 - 2020
WHEN MY EYES ARE CLOSED, I'M WHISPERING NOISES TO THE BACKGROUND OF MY MOUTH 2000
WHEN MY EYES ARE CLOSED, I'M WHISPERING NOISES TO THE BACKGROUND OF MY MOUTH 2001
|
#1 Barcelona - #2 Chamber close; 20 février II Paris - #3 Door, II rue Larrey - #4 New York - #5 the Sonambulist - #6 The eye that never sleeps
#7 E.and G.R - Edinburg - #8 Room upstairs, Walpole, Maine - #9 E.H at her home - #10 San Francisco no.3 - #11 Storyville Portret |
WORK PROCESS 2000 OTHER PAGE
|
THE GREEN RAY 2001 - 2002
In 2002, I was invited to participate in the exhibition "Back to Nature," in which the curator, inspired by the title of this series of works, had the subtext that "through the green you see the frame of the glazing," and that I have captured nature in the form of greenhouses. Despite the fact that two works were included in private collections after the exhibition, I decided to withdraw this serie of works.
THE GARDEN commissioned by the Social Insurance Bank 2002 - 2003
Photoshop assemblage after a year of visiting many gardens with a technical camera
Cibachrome transparent in ceramic tempered glass, 760 x 246 cm (nine parts)
RAUM 2004
empty room | Raum I (photo assemblage) | Raum II (digital drawing - A5 gyclee print)
I WISH I COULDN'T LIE 2005
untitled image 27 march 2005 4775 x 3698 pix
Explore the possibilities of a digital landscape in film, photograph, script and a map from March 27 to December 24 2005
where the objects in time may pass to the equal for the quotidian modifications and the pleasant end and less only refuge to order resumes (prologue from the notebook)
IN CHRONOLOGICAL ORDER :
04/10/05 | 18/10/05 | 24/10/05 | 24/10/05 | 08/11/05 | 08/11/05 | 08/11/05 idea to put the high-resolution images on negatives | 03/12/05 | 06/12/05. | 06/12/05 High Res | 10/12/05 | 12/12/05 1280x720p resolution for movie | 19/12/05 untitled terrain (digital elevation model) | 24/12/05 Topo Low Field | 24/12/05 Landscape from above at an altitude of 27370 meters and comes to 10 x 10 kilometers | 30/12/05 Movie title
04/10/05 | 18/10/05 | 24/10/05 | 24/10/05 | 08/11/05 | 08/11/05 | 08/11/05 idea to put the high-resolution images on negatives | 03/12/05 | 06/12/05. | 06/12/05 High Res | 10/12/05 | 12/12/05 1280x720p resolution for movie | 19/12/05 untitled terrain (digital elevation model) | 24/12/05 Topo Low Field | 24/12/05 Landscape from above at an altitude of 27370 meters and comes to 10 x 10 kilometers | 30/12/05 Movie title
|
FROM THE NOTEBOOK 2005 - 2006
A virtual space; a landscape that doesn't actually exist, but invented and made visible. The works that will emerge from this landscape can be understood as a visual record of this landscape, questioning its own reality. This will take shape in various media, such as film, photography, and maps. It is not a longing for an ideal environment; this environment has no animal life; it is populated by the landscape itself; the clouds, the wind, and the various weather conditions. It has mist, sun, night, seasons, and so on.
The virtual camera is the subject of the visual experience of the landscape, with the eyes of observation being the camera. The choice of a virtual landscape instead of a real one is self-evident, because the reproduced landscape returns to reality, while a virtual one doesn't, simply because it doesn't exist. It is fiction, and from this fiction I continue writing, because that's what it is. It is data for a sunny day, a rainy night, a green, hilly landscape, a lake, or even a desert. 22 december 2005 My conceptual development often involves a gut feeling, where the motifs move along the spine of consciousness. Only then can I begin to think from images that claim a right to exist. This sounds weighty, but it's true. Only in retrospect do I notice that traces of previous work nestle in contemporary contemplation; the contemplative as observer, where the subject dissolves and finds itself again. Emptiness is a key aspect of my work, with which I take a stance on our organized, materialistic society, in conjunction with the belief in a god as compensation for the realization that our existence is temporary.
3 January 2006 |
FILM TEST September 2005
|
UNTITLED LANDSCAPE test c-print December 2005
44 x 25 cm | framed 2025
I WISH I COULDN'T LIE / OUT OF NOTHING 2006 - 2012
my first High Res work from 2006 in which I managed to have a work calculated in 320 million pixels and decided to give the 3D coordinates in the landscape where you are standing as the title of the work
I WISH I COULDN'T LIE / OUT OF NOTHING 2006 - 2012 AND FURTHER WORK
WORK PROCESS from 2006 - 2022 - NEW PAGE