My work attempts to collapse the boundaries between image and object. For me the surfaces of photographic images are not transparent, and if images have meanings, they also invitably occupy physical spaces and exhibit their own materiality. In a quest for material re-presentation and re-embodiment, and through various transformations, the work exhibits the objectness of both its apparatus and its image.

Throughout my work I have explored the way the materiality of the photographic image and of the apparatus can affect and contribute to the meaning of the work: from the material on which I print through to the positioning of the image and the apparatus in a three-dimensional space; from the physical traces and index of time, scratches and dust, on negatives and prints through to the uncanny physical absence of the photographic image itself.

The work is thematically and formally pensive and self-reflexive. The tropes it explores are often inspired by what pertains to the realm of photography, and the form of a piece becomes a language describing an idea. Or rather, to be truer to the spirit of the work, it is through its very materiality that the work acquires meaning.

The work asks the viewer to be seduced into a phenomenological experience with the object. It has a life of its own and the viewer is invited to let the object mirror her/his sensibility and her/his own desires. After all, 'it is the object which thinks us'*.

More than a photographer, I consider myself an installation artist. I often work with found photographs, negatives and slides, internet images, film, video, and sound; and when I feel brave enough I sometimes perform for the camera.

*(Jean Baudrillard, The system of objects)