My photographic work always starts by wandering around, roaming the streets without a destination in mind. By using reflections and transparency, I capture multiple layers in a single exposure to construct an abstract and textured representation of reality. Although I started out with a street photography approach, I have noticed that people are becoming less present in my photographs and my overall imagery is becoming more abstract. I love to play with shapes and lines that I find around me in architectural elements in urban surroundings; they are the building blocks for my compositions. Their original meaning and context becomes secondary — it’s their form, their silhouette that attracts me. The reflective surfaces that I often use to capture these compositions are generally textured by the weather; I really like how this blurs the line between a photograph and a drawing / painting.
While I am out shooting, there is an unwritten and partly subconscious set of rules and restrictions in the back of my mind that draws me to and from situations. Within this narrower way of looking at my surroundings, my process of shooting is quite intuitive; I find interesting scenes that I capture without a series in mind.. Once I get back to my studio, I have a less intuitive approach and analyze and rationalize what I do. I find patterns and ways of composing amongst pictures that display similarities over multiple sessions that sometimes span months. This informs my way of looking and sharpens my approach the next time I go out to shoot, getting me closer to a coherent collection of pictures.
By repeating this process of input, feedback, new input, new feedback, et cetera, there comes a moment when I can get a grasp on where I am going and am able to steer the process even more. This is usually also when I feel the urge to start more focused editing so a series can arise. The hard part is to know when to stop — when do I complete the series, what does every new picture add or take away from the series as a whole?
I guess you could call the collection of pictures you see here a “series in limbo.” I’m very enthusiastic about continuing this research and don’t want to force it to an end, but it somehow also feels like adding more will not necessarily fortify the series as a work of its own. I do want to get these images out into the world but I also want to present the optimal combination and sequence. I could end up in a feedback loop here; since there is no external deadline I could keep working on this forever — that poses a risk to my output. One way I take care of this is through my magazine March & Rock; I have subscribers so I have to ship once every three months. A self-imposed deadline in the form of an exhibition is probably the best way to go for me. So, next step: find a place and set a date to realize an exhibition!