November-December 2020

Letters to Him Who Hides Wastelands Within I-II, 2018
Part of a larger series
Automatic writing and drawing on semi-transparent paper


These works consist of two layers of semi-transparent paper. On the paper underneath I fill the page with my own continous writing from start until the end. Every sheet takes approx. 8 hours to fill. On the top paper I mark out where the line of thought involuntarily exhausts and changes in the text underneath.

An idea of stillness

I’m interested in the idea of the image as a break in the continuum of time, of language and causality. As something that bears an idea of stillness, elevated abobve the forces of time and decay. 

Interiors I-V, 2020
Spatial photograms on Polyester
Mounted on Dibond
Dimensions variable


I take several sheets of polyester fabric and soak them in a photographic emulsion made of liquid silver chlorobromide. I hang the wet sheets over tables and chairs in a room, where they cover the furniture as shrouds. I then expose the shrouds with a flash of ceiling light, before developing them photochemically and drying them on stretchers. I repeat the process until it is exhausted. 

The result are impressions, not prints.

The flash and the negative imprint

Walter Benjamin wites about the dialectical image as a sort of negative imprint in the echoes of memory that in moments of urgency flashes up to depict what’s about to become obsolete in the present. This tension between annihilation and appearance, between anticipation and anxiety, is important in my work.

Grain Upon Grain, 2020
16mm film
5:48min loop

In this film I have filmed along the border of Nevada Test Site; a former test site for nuclear weapon in Nevada, USA, now closed for visitors.

A perpetual present

I’m concerned with the idea of digital amnesia, and a future that is so automated and predictable that the present becomes a perpetual Now devoid of movement – like an image. 

Photo credit: Tomas Giraldo-Feener, OBRA