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.

When I started making photographs, my photography was departing from a preconceived visual constructedness, after a few years, this work method felt like a constraint. To explore different notions of this viewing and framing, I started making photograms in the darkroom using cut out elements from photo prints to make new compositions in the dark by touch only. This, I felt, led to a radicalisation of the gap between intention and action, which gave me much more freedom to explore photography. I then proceeded to making multiple exposed slide installations with voice-overs and started combining other, often chance related work methods with a matter-of-fact kind of photography.

A dualistic relation between text and image is central to Two Tiny Spots Containing the Whole of the Space Surrounding Me. The voice-over talks of personal experiences of architectural spaces. The multi-exposed slides of corners and ceilings of rooms seem much more formal and this tension between the two elements is important.

The Dust Photograms series is related to the Rearranged Sun Flares II series from 2006 because both bear resemblences to science photography. The latter looks like laboratory pictures from crystals or other tiny particles. In science, it is not yet clear if light consists of particles or waves. So, these show a fictive form for light entities, and could be seen as offering possibilities, not answers. The dust prints are somehow reminiscent of photographs of outer space. Many deep space photographs made with the aid of telescopes are impressions of translated data instead of photographs of actual visual observations. Neither are the dust prints I accidentally came upon while making some tests of dusty negatives in the darkroom. They are images resembling other images that are meant to be a representation of something that has not been seen yet.

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 print resulting from the exposure that followed, shows a decrease in the sense of the spatial. A maximised sense of the spatial – le Corbusier's main goal as stressed in the accompanying fictive text – has diminished. 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 startingpoint 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 cut apart and replaced by new images and the original text replaced is by a very different text exploring the Ruin Value theory by Albert Speer. Although the form of the text is academic, the content of the poster has an open associative structure, acting against the closed circuit of knowledge and ideology that is represented in the original publication. It is in favour of the idea of the temporality of ideas.