This project is a reflection on visual legacy, an approach to how images relate to each other based on visual and semantic similarities in the context of image algorithms. Keywords and tags draw loose associations between visual material from diverse origins and contexts. For every search request, new connections are established. Images deviate from their common thread of associations, letting unexpected pictorial histories unfold.
A hacked printer is forcefully spilling ink into the air, unable to perform its original task of representation. Five glass plates, arranged in a standardized exhibition setting, delimitate spaces where potential images can materialize.
Surrender is an exploration of the physical manifestation of digital imagery. After the development of a dedicated technique, digital images are printed onto tree and plant leaves. The images, gathered from online image hosting platforms, materialize onto an ephemeral medium, which shrinks and withers, deforming as it does the image that it carries.
Surrender: Image Contamination of Networked Bodies
Interactions, 2015 Publication
iPad paintings 3'20" of Easy Rider
Exhibition at De Punt Amsterdam May 2015
Hey you there, 2014 Exhibition at De Brakke Grond March 2014
Uniforms, 2014 SMBA Amsterdam November 2014
Uniforms deals with ideas of fetishism and the withdrawal of objects. Taking the space of the gallery as a fetishizing space, mass-produced masculine shower gels were poured within 4 cuts in the floor of the gallery space in order to decompose their sensual qualities and open up a potential space for evocation.
Boosterism is a promotion strategy which consists in improving the public perception of a negative phenomenon. In this case, I took images from the 2010 Deepwater Horizon oil spill. Using the vocabulary of commercial display - an abstraction of commercial display stands and gauze traditionally used in perfumery -, I explored how the gallery space becomes a space for fetishization and how artistic strategies can open up new readings for a specific phenomenon.
Exhibited at :folgendes Hamburg, May 2014
This video is an exploration of the plasticity of the digital video image. It was made by breaking the coded structure behind an appropriated digital video. All the reference key-frames were removed from the video le. As a result, pixels moving across the surface of the screen leave traces on the underlying image, just like a brushstroke would leave paint on a canvas.
roll crease fold store bend shorten twist dapple crumple shave tear chip split cut sever drop remove simplify differ disarrange open mix splash knot spill droop ow curve lift inlay impress re ood smear rotate swirl support suspend spread collect tension gravity entropy grouping layering grasp tighten bundle heap gather scatter arrange repair discard pair distribute compliment enclose surround cover wrap dig tie weave join laminate bond hinge mark expand dilute light modulate waves inertia equilibrium symmetry friction stretch bounce erase systematize force time continue, 2014
In this work, I performed all of Richard Serra’s Verb List actions in chronological order on the video, discovering the list as I would go along. The book is a physical translation of this creation process, where each page corresponds to one action in the video. The weight of the paper of each page depends on the time spent on each action, according to its difficulty. The wooden box is handmade and the title was handwritten on the cover during a performance on the evening of the book presentation.
Arrangements is based on a Processing algorithm, which rearranges all the pixels of a digital image according to their degree of brightness. Any image passed through the algorithm is turned into an abstraction. The material of the processed image is virtually the same as that of the original, since all the pixels are still present in the output, only rearranged. I chose to input some of the most expensive photographs sold in the world, in order to reflect upon the economic value of artworks, as well as the materiality of images. The photographs are intended to be printed at the same size as their original.
Strolling investigates the deceptive relationship we entertain with images on screens by materializing the surface onto which they appear. As the surface is progressively smudged with paint, images become unreadable and lose their informative function.
Combustions, 2013 - 2014
Found photo prints were cut, assembled, glued and rephotographed, burning in the studio. The surface of the burning prints progressively dissolves as the image becomes unrecognizable and new figures emerge from this destructive process.