Long before my focus on museum photography, and contiuning parallel to it, I have continued to work with imagery using more or less heavy digital manipulation and montage for both still and moving results.  Whilst the origin of the images is always photographic, these montages take away the emphasis on the photographic moment and the intertwined referral to fragments of reality – in other words, the indexical quality of the photographic image is much reduced or wholly eliminated.

I am often inspired by historical art, both for form and content, whereby my own interpretation of 'content' aims for an analysis of iconography that aims to point out its timeless and hence contemporary relevance. This interest in historic art was also the starting point that led to my preoccupation with museum spaces.

Often, I use myself as ‘model’ – not necessarily aiming to produce ‘self-portraits’ or comments on my personal life but rather considering this practice as using the most universal subject an artist can find. In some series, I have worked with found photography (Body & Soul, Gebluet) and later introduced purpose made photography into this (The Picture of Discobulus, Triumphal Arch).

In the series Body & Soul, the mind-body issue is addressed most directly, both in the historical artwork it refers to, as well as in the results. The series reflects the human awareness of the fragility of the body and the concept of the separation between ‘body’ and ‘spirit’. Reminiscent of precariously balanced human pyramids the images shows structures that remind on reliquary monstrances (latin: 'monstrare - to show): objects that are made to preserve and display special body parts – which are believed to bridge an access to the world beyond our physical world.
The images are made from found photographs of bodies, mostly sourced from the contemporary flood of internet material of nudity in all forms.
In all cases the images present a reflection on the mind-body separation: Beguiling kaleidoscopical shapes and artfully balanced shrine-like structures represent a somewhat absurd spiritual imagery of wholeness, whose ‘building stones’ nevertheless are corporeal fragments shown in a moment of an unsteady balance – that may collapse at any time.


I gave this part of my work the loose umbrella title 'Rarities in Pictures' which is adopted from the second section of Sir Thomas' Browne's MUSÆUM CLAUSUM. I also adopted his way of listing/describing the fantasy objects, books and pictures of his ‘collection’. This is in no way an attempt to (re)create Browne's inventory but rather taken as an inspiration to catalogue these different works.