Making art to me is mostly an act of viewing as a mental activity. The camera and the enlarger in the darkroom have become devices that serve a coming into being of a certain way of thinking: as a mental exploration of the world from a specific perspective. One could see this approach to photography as a metaphor for a device or lens that can frame, form or even deform a view: a mental viewfinder. The activity of observing the world through a viewfinder without presenting the medium for its own sake has developed into my main interest.

Two Tiny Spots Containing the Whole of the Space Surrounding Me is a slide installation with voiceover. The multi-exposed slides show up to four analogue exposures of corners and ceilings of rooms.

The Dust Photograms are a set of 4 prints made from dusty grey negatives.

The series Rearranged Sun Flares II 2006 is a sequence of photograms made of cut out flares from a photograph. The cut outs were placed on a blank photo paper one by one and exposed shortly with the aim of placing each of them in the same area. Since the color darkroom is completely dark, this often did not succeed, hence the variation of compositions.

In this work called Entropy, a negative and a positive of an identical photograph of an interior by Le Corbusier were placed on top of each other in the enlarger. The text explores dusty book prints of some of Le Corbusier’s interiors and is 'dotted' with a number of quotes by Smithson on entropy.

The poster, Deconstruction within Construction takes as a starting point a book on fascist architecture dating from 1943, found in the UvA library in the architecture section. Based upon the book’s layout and content, a new page is constructed: original pictures from the book are deconstructed and replaced by new images and the original text is replaced by a very different text examining the Ruin Value theory by Albert Speer from a personal angle.