Photo‑based Digital Work
A selection of digitally altered photographic works derived from actual situations or events. These works function as post‑material propositions, where documentation becomes material for new spatial and conceptual realities.
Niche
Niche is a series of photo‑based digital paintings derived from a single photograph taken after a site‑specific intervention. Each iteration applies a new surface to the original image, giving the niche a different presence or emotional charge. The work examines how shifts in light, colour and digital treatment alter our perception of the same architectural situation.
The ten variations are brought together in a square artist’s book (10 × 10 cm), where each image functions as a distinct spatial proposition. Through repeated reconfiguration, the niche moves from a concrete location to a set of possible manifestations. During its presentation, the work was shown within the architectural context from which it emerged, allowing the dialogue between the physical site and its digital transformations to become directly perceptible.
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Cornered
'Cornered' originates from a single photograph taken during a residency at the Chinese European Art Center in Xiamen. The image is digitally reconfigured by mirroring one half of the frame, producing a spatial construction that appears plausible at first glance yet does not exist in the physical world. The resulting box‑like formation suggests enclosure and inevitability: a situation that folds back onto itself and offers no exit.
The digital intervention transforms the photograph from documentation into a constructed spatial proposition. The mirrored structure generates a self‑contained reality in which the internal logic of the image overrides the conditions of the original scene. In this way, Cornered operates within the post‑material dimension of the practice, where manipulation becomes a method to reveal latent tensions and to articulate the psychological and socio‑political pressures embedded in the context from which the image emerged.
A small version of this work was presented as part of total installation '40 Titles' (I) in the gallery of CEAC (2014).
In 2015 a large version was part of total installation '40 Titles II', Cacaofabriek, Helmond, NL.
2018 - 2018 during solo exhibition 'A moment in the process', Academisch Genootschap, Eindhoven.
Two Sides
Two Sides brings together two photographs taken from opposite viewpoints of the same situation. Placed side by side, the images appear to form a corner, a spatial suggestion that implies the possibility of moving around or beyond the scene. This sense of openness is deceptive: looking closely, it becomes clear that the corner is merely an illusion created by the juxtaposition of two separate photographs.
The work plays with the act of viewing from two sides, exposing how perspective shapes interpretation. By presenting both viewpoints simultaneously, Two Sides shifts attention from the depicted objects to the conditions of looking itself. The image‑object does not construct a new space; it reveals how easily the mind assembles one. In this way, the work underscores the instability of spatial perception and the subtle power of framing.
Red Garden Series
One of a series of digitally modified photographs reflecting on the landscape and city of Xiamen, functioning as tokens for the city and for the universal ways people anchor meaning in their surroundings. The work is presented in photo frames with an acrylic finish, arranged like family photographs or markers of meaningful life events.
The arrangement was first shown as part of the total installation 40 Titles (I) at the gallery of CEAC in Xiamen, China, in 2014. In 2015 the works were included in the sculptural multimedia installation The Columbarium, where they were placed on a large structure of tables representing housing structures and the lives within the city.
In 2018–2019, this particular piece was presented again during the artist’s first retrospective exhibition A Moment in the Process at the Academisch Genootschap in Eindhoven, NL.
Red River
Red River marks an early moment within the post‑material trajectory of the practice. The work is based on an online‑circulating photograph of a strikingly red river in China, likely discoloured by industrial pollution. Through digital intervention, the image is opened and destabilised: spiral distortions cut through the surface and introduce a new visual logic within the photographic field.
In Red River (I) the intervention remains close to the original image; in Red River (II) multiple circles are layered into a landscape that expands the scale of the work. The series connects to the conceptual line developed in Move and Nadir, where transformation and reconfiguration generate new readings of existing material.
Red River is part of the broader research project 40 Titles.
'Nadir II'
One of a series of photographs developed during an artist residency at the Chinese European Art Center (CEAC) in Xiamen, China. The images capture the natural principle of the lowest point, emphasised through selective colour treatment.
Red Earth
Red Earth was developed during a residency in Xiamen, China, undertaken as part of a self‑initiated research project into intercontinental relations shaped by trade, wealth and socio‑political conditions. Here digital modification is used to visualise hidden powers and structures and tangible tensions related to that.
The triptych was first presented in the exhibition 40 Titles at CEAC in 2014. In the subsequent installation 40 Titles II (Cacaofabriek, 2015), one of the photographs was replaced by The Entrance (II), extending the series into larger perspex‑based image objects.
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