I see photography as a form of field research: each shot is an experimental setup in which light, time and space negotiate to reveal a previously invisible order, and my camera serves less as a documentary instrument than as a seismographic tool that registers subtle tremors between landscape, architecture and human presence.
I'm interested in the fragile balance between duration and change. Long-term exposures and infrared technology open up an extended spectrum of vision; they slow the world to the edge of silence or allow structures to emerge that escape the naked eye. In these moments, it becomes clear that perception is never neutral, but is always framed by memory, expectation and cultural-historical knowledge.
The resulting images are not definitive answers, but spaces of thought. I see them as an invitation to question one's own position - similar to a philosophical exercise in which the viewer becomes a co-researcher. The materiality of the work plays a central role: museum quality prints, large-scale installations and blockchain-based certificates form a coherent ecosystem. They ask the question of how originality, authorship and aura can be redefined in the 21st century.
Theoretically, I approach this complex from two directions: on the one hand, I draw on phenomenological approaches that understand perception as an active construction; on the other hand, I draw on stoic thoughts about self-discipline and serenity – virtues that are as much in demand in long-term exposure as in the artistic process as a whole.
This creates a work that consciously positions itself between technology and contemplation: precisely in its execution, openly in the layer of meaning. It calls for the visible to be conceived as a fleeting surface under which deeper rhythmic structures hide. Those who engage in it do not encounter a fixed narrative, but a resonant field in which nature, memory and technology enter into dialogue – and in which every consideration becomes a new question.
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