How does photography play a part in your practice?
Through photography I started to question and understand the medium and finding my own truth. A photograph captures too much information but doesn’t capture the sensation of the situation. I scrutinise the relationship between photography and memory and how the process of forgetting/remembering can be captured and translated into visual form.
Where do you source the photographs in your work and who are the subjects?
I use my family archive photographs, which are very little left.
The photographs used in your work are often quite nostalgic, what is your relationship with past and present?
These photographs capture moments I have hardly any recollection of. They provide me with a sense of loss of my young mother who I don’t remember being young. They block my memory.
What is your favourite method of distorting an image?
Technique I enjoyed the most was a projection of a family photograph projected on a regulated smoke. This photograph only exists when the light rays from the projector hit the smoke, it is stretched into the space, its in constant movement and dis/appearance.
What piece of art do you admire above all others?
I have many. I get overwhelmed by them, I change, I leave them, find new ones and I come back to them and fall in love with them again in a different manner.
‘Human Mask’ – Pierre Huyghe, ‘Momentum’ – UVA, ‘Blind’ – John Stezaker
Are you currently working on a new project?
Two of my new projects, which come out of my previous project Rhodopsin, incorporate 3D sound, interactive space, vibration, interior and light.