Together with Experimental Photo Festival in Barcelona I have been able to create book around my project: ID.

I was looking at a cloud of flies flutter over the water, lit by a tiny patch of sunlight which had found its way through the trees above. I saw a big indiscernible mess of movement. Until in one instant, depending on how I would focus on them, I was able to see all of them move to the left, or to the right. These three different forms of movement were impossible to be viewed simultaneously. 

Why was I able to choose what to see and why was I then not able to see the other modes? Is it self-deceiving to assume that this choice only presents itself as an active one. I find it a lot more likely that this is happening continuously in your subconscious mind, which concludes that everything you see is not really what you see, but merely an interpretation of what you see.

This effect becomes more apparent when taking mind-altering substances. Here I’m not referring to only psychedelic drugs, but really to all forms of intoxication, including also substances like alcohol and paracetamol. It is easy to dismiss the things you see, experience or (not) feel as an effect of this mind-altering substance. You see the ground move because of the LSD you’ve taken, or the headache has left because of the paracetamol you’ve ingested. Still we “know” that the ground does not move and that the flu is still there. It is in the difference between knowledge and experience here that we are able to differentiate between what is “real” and what is not. Why then do we accept that without these substances we are experiencing the world as it truly is? Our ground zero is merely the state our body moves towards naturally, but not necessarily the one which reflects the outside world most truthfully. 

The way we move in, respond to and experience this world is all influenced by our memories, which causes us all to react differently to similar stimuli. Some look at a passing snake with awe, while others are frightened by the sight of a gardenhose in the grass. These are both experiences of a snake, while we do say that one is real and the other is not. It is not only our reaction which differs between person to person, it is also the visual input. Some have trouble finding objects in front of them while others continuously see a lost loved one in the face of every passerby. Our present perception is a malleable object influenced by past memories as well as future desires and predictions.

By manipulating black and white as well as color negatives with the mordançage chemistry I have created imagery in an attempt to stimulate a variety of multiple perceptual modes. I want to allow people to let their imagination run wild and experience these images however they see them, real or abstract, be it a mangled-up analogue photograph or to see it as tiny inkblots on paper. 

A series of the Dutch dunes in midwinter reimagined as a silent world devoid of humans. Shot in a way where the dunes become the dividing shapes between earth and sky allowing the structural properties of the leafless branches to run through both domains. These photos which are focussed on shape and texture have then been subjected to a variety of objects such as salt crystals and honey. This doesn’t disrupt the film in a disruptive sense but merely creates objects and textures that interact with the original. Adding a second layer to amplify the shape of winter. 

A continuation of my research into various ways to damage analog film. This has been done by leaving film in rotting food waste for a week.