Landscape and Interior

1994 – 2005

As indicated by the title, the images from this series can be divided into two groups. In most cases, the ‘interiors’ are parts of dwelling spaces, usually flat in shape and photographed frontally. While the subjects are mostly personal in nature, clues pointing to this fact are lacking. As a result, the photographs appear anonymous. As everyone is familiar with these subjects, they appeal to a collective memory. They may be considered icons of memory.
The ‘landscapes’ have been photographed in such a way that foreground and background are just as out of focus as a small object photographed from nearby. What is depicted resembles a model of reality, but is derived directly and unmistakably from the real world.
The work stresses the fact that the image is a manifestation of reality. The difference between depiction and what is depicted is emphasized; still, the direct link with reality that characterizes photography remains of fundamental importance.

Each work from the series has a title that gives an unambiguous description of the subject photographed. Each specific (but abstractedly represented) subject functions as the archetype of the category it belongs to. These categories are fundamental and universal; they are characteristic examples of the ‘hardware’ that refers to human presence. In the series as a whole the categories are listed, in an effort to organize the world and make it surveyable.
In the landscapes and interiors contrasts can be found between memory and the here and now, inner and outer worlds, flat and three-dimensional, (re)construction and ‘reality’, image and depiction, time and object.