Experimentation and testing the boundaries of both the known and the visible are central to my artistic practice.
Since 2018, I have been investigating the defects of vision and perception by taking experimental photographs with historic image-making devices of the camera obscura. I reshape the circular hole of the classic aperture into line and other shapes. Above all, I am interested in the effects of movement and distortion, which give to what is static a sense of movement, speed. In the process, pixels become lines that confer the photographs with a painterly look. The paint-like effect recalls both the impressionistic style and the blurred paintings by the German artist Gerhard Richter.
I obtain the transition – the reconstruction of the outer space into something new, by using mirrors. To focus the exposure on individual elements, colours and patterns, I apply stencil masks at the back of the aperture. Whereas, by taking photographs with a word-shaped aperture, I poetically emphasize that words, thoughts, and definitions affect our perception of the visible.
I find it intriguing to merge movement and light of the outdoor open space, city, or nature into an enclosed space, like the box of a camera obscura. The results depend on how I choose and use the different components - the aperture, mirrors, masks and image catchers. This technique allows me to respond to the external situation.