For Manifesta, the European Biennial of Contemporary Art, 2016,
I considered the things people do to earn their living. An important aspect to make sense of that was the individual motive and definition of success.
After interviewing people with very different concepts of life,
I gathered 38 statements and transferred them onto fragments of old tombstones.
I, personally, measure success not so much in money as in the realization of my work.
Developing a concept further or bringing a work technically to a new level, for example, is how I measure success.
In this spirit, I went on a new path for this exhibition and fused two mediums that are important to me, sculpture and photography, into one. I call it “sculptural photography”.
A photograph to me is less a replica and more a source of inspiration or way of focusing with graphic means.
As a sculptor and painter, I have been working with photography for more than ten years.
Initially, I used it simply to find shapes and colors. Then I started to combine these “sketch photographs” with other mediums, resulting in new, independent works.
After the series of luminaries, that combined photography and drawing, I now went a step further and morphed photographs with sculptures.
I molded 14 different figurines of which I made casts in an elaborate procedure and had 20 photographs of mine printed on
The contrast in texture between synthetic film and hand-molded figurines had a great aesthetic appeal to me.
The figurines are very delicate, which is why for every morphed photograph a new cast had to be made.
The photographs show people at work or symbolize certain lines of work through details or abstractions.
Even though several casts were made from the same figurines, the combination and realization of these sculptural photographs make each piece unique and non-reproducible.