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For over two decades, I developed and refined an image making procedure that combines photography, optics, light and chemistry. A visual technology that explores detailed visuals found in tiny configurations of liquid compounds. Over time, by observing and studying these complex behaviours, I am able to carefully control the outcomes that lie curled up in these configurations. These so called ‘configurations’ often appear to be found or collected, being (part of) an ancient artifact or relic or sometimes resembling the natural structure of organic materials. They are in fact, entirely hand-made, conceived and constructed in the studio using analogue imaging techniques;

“In a modular set-up, optical instruments and filters regulate how (coloured) light spreads through sequences of chemical interactions. These interactions are activated by systematically inserting units of liquid measurements in a custom made glass. Then, to isolate a specific event, the space in the glass is further reduced, allowing for a suitable control over movement and turbulence. [...] After several trials, the detailed structures that eventually settle (deposition) yield the visual elements with which I can build a new configuration, or, if you will, a new work”

From the microscopic, or cellular scale, to the macro- or cosmic. Each series of works that coms out of this (image making) procedure manifests itself on different scales. Oscillating between often paradoxical perspectives, trying to determine what is actually displayed, the viewer hovers an inch or a few hundred feet above the subject, continually moving through various scales and thus a multitude of narratives. This particular notion of scale - or loss of scale - is key to the experience of my work. A process of unmaking, where associations are disconnected, relayed and re-connected, being both curiously familiar and strangely remote.