I sense growing imbalances and rifts between cultural strata and global communities. Strongly believing that the artist can be an important commentator on the human condition, much of my work is intended to provide me with a deeper understanding of these imbalances and rifts. I crave for a profound and sobering maturation – both personally and globally. Thus, as an artist and educator, it is important that my professional activities are grounded in experiences and expressions that are lyrical and approachable on the one hand, but scathingly disturbing on the other.

As an image maker, I assume a Pluralistic stance, as described by Isaiah Berlin (“I do believe that there is a plurality of values which men can and do seek, and that these values differ”, Berlin, New York Review of Books, Vol XLV, Number 8, 1998.), and the ensuing tension between Monism, Relativism and what may be absolute truths. In other words, there may be conflicting truths and polar ideals, all of them equally valid. What becomes vital then is the way one approaches and oscillates between these absolutes.

I shape these images as photographs of ideas rather than of events. By seeming ‘unreal’, the images break through the photographic window and find a place within an imaginary space. The experience of looking at a photograph becomes discomforting as well as compelling. We are fascinated because the fabric of what we know first-hand is being threatened by glimpses of what we do not know. Reality opens up and begins to give us an indication of something beyond our direct realm of experience, something that eludes, but is about to include the ‘me’ and the ‘I