My radically distorted photographs explore the limits of recognizability. I find it fascinating that the urge to interpret the world around us is so powerful that even mere fragments of images trigger it. My goal is to determine the absolute minimum visual information necessary to initiate such obsessive behaviour. When do we discard a visual stimulus as non-representational noise, and when do we try to conceptualize and interpret it as something meaningful? The result of this epistemic process reveals more about the recipient’s subjective construction than about the supposedly objective reality. The photos therefore undermine the representational character of photography and thus question one of its fundamental principles.
The large-sized images are based on photographs taken with smartphones. This methodical approach was deliberately chosen because it forces you to make do with a minimum of visual information due to the camera’s poor quality. In a complex and highly experimental process, the raw material is then distorted to a point of almost being unrecognizable. The result is a new aesthetic quality.
I refer to this type of minimalist photography as epsilontics.