My artistic work consists of topics relating to social history and to the spectacle. Theoretically my work falls into practices that can be categorised as documentary or half-documentary. Yet, a single work usually consists of several digital frames that are merged into a tableau-size panorama. This can be seen as an extension of the third dimension - time - in photography. The merging of the landscape takes my work towards post-documentary, but I myself call the style documentary spectacle.
My earlier career in exports has contributed to the critical approach to narrative: the sales-process is comparable to a creative story-telling where facts and fiction come successfully together. Therefore, documentary spectacle relates to concepts such as scientific truthlikeness. It also borrows from the theories and practices of documentary theatre, documentary literature, and documentary film, i.a.
In the end, the meticulously constructed image shows an aftermath of an event instead of the event itself – the image becomes a trace of a trace of an event.
disclaimer: the related photographs are not to be confused with the intended result of the project.