The series "Norrsken" (Northern Light) was created in Stockholm in 2022. In the strange mood of a Nordic twilight, the collection of historic ships in the Naval Museum suddenly appeared somewhat menacing. Depending on the point of view, artificial lighting with neon tubes created angular shapes and volumes; their spatiality contradicted the exhibits and their arrangement. I increasingly concentrated on these light fixtures, which at first were barely noticeable, but which now gave the hall new shapes, volumes and a new rhythm. Precise photographs that play with the depth of field change the perception of the original historical exhibition concept. The ship models, masts and ropes have now become constructions that seem to link the neon tubes.

The blue coloring of the photographs changes the viewer's perspective. The images now show a different picture of reality, one that is not normally perceived by the viewer. Our look is now changed. A white rectangle that has been cut out leads us into the picture, but ultimately also back into the flatness. One wonders what is invisible there, what is being withheld from us and why.

Sommereis, in english : Summer Ice, was the first creation after a year and a half of the Covid19-pandemia.

"Turning Point" are photographs that have been taken with a camera that was rotating around its own axis, photographing a modern living space in a long-term recording. The images look like a vortex of light and show surprising compositions of great dynamism.

The photographs "Minor Step" were created in May 2018 from manipulated photographs of projections of historical amateur films from the Paris metro. They are images of seeing, of recognising, but also of the unknown and the invisible. The title of these works indicates a reference to music.

An homage to the chronophotographic works of Eadweard Muybridge

An homage to the pianist Artur Rubinstein

These photographic compositions were not realized with a professional camera, but with the device with which in these years millions of photos of amateurs were made: a mobile phone. The pictures seem abstract, but you always think you can recognize objects. In fact, they are photographs of small pieces of dirt, dust, aluminum and paper shreds in a window construction, which could be photographed by cracks and scratches. You will discover objects that are located in an almost invisible place of a very elegant and prestigious Parisian city villa and seem to lead a kind of life of their own.

"Transparences IV" represent the fourth chapter of the transparency series. Once again, glass and glass-showcases were used to photograph historical exhibits. Precisely leveled camera positions allowed complex compositions with an emphasis on the vertical. Les complex than Series I and II, but more constructed than the London group "Transparences III", these works were created in the Parisian Louvre and show artefacts from the time of the islamic civilisation.

“Les Bandes du Port” were created in Granville (Normandy) in 2014. They are dyed photographs of the garbage of ships that hovered around the port of Granville. An attentive eye finds compositions, and the space between the multiple superimposed synthetic bands creates unimagined places of tension.

The series "Anaphora" was created during the summer and autumn of 2013. The camera followed a prepared shift and took long-exposure shots on certain parts of its trajectory around an object of daily life. These are reflections and questions about time, space, movement and transformation, the multiplicity of the view.
An anaphora in poetry and rhetoric is the repetition of a word or a series of words at the beginning of the sentences.

"Around the Corner", created in 2010-13, consist of a series of photographic recordings of film sequences which, after undergoing extreme compression, were projected into the corner of a room. These moving and ever changing projections include a time factor. Space and figures seem incomprehensible, objects fall apart, parasitic structures dominate, which results in compositions that are dominated by the characteristics and limits of digital media.

The photographic works "A Majority of One" are images that consist of multiple photographs of projections from digital photographs that have been modified on the screen. Humans and objects dissolve, parasitic structures dominate. Digital fragments that challenge our perception of reality.

The photographic diptych "Trance" was executed in 2010. These are projection images on textured surfaces. The starting material were short scenes of a dancer in a Swedish videoclip. The images were processed, colored, extremely inflated, then reduced and projected for the camera.

The photographic works "Hunt down" ware created in 2009. These are images that consist of multiple projections and by photographing the screen of changing digital photographs. In addition to the digital own structures between the screen and projection is the additional area of projecting to a structured background. Starting material was short sequences from hard-boiled-fiction-films of the 50s. Space and figures seem incomprehensible and even contradictory, everything falls apart, parasitic structures dominate and the properties of the digital medium dominate the compositions.

The series "Pirates (Piracy)" has been created in 2007. It is a work which emerged from reflections on film and certtain aspects of film history. There are photographic recordings of excerpts which have been extremely compressed and then projected. The scenes are taken of commercial pirate movies of the 80s for ar youth public. Long apertures allows a superposition of a hole sequence and includes so the time factor. Questions about exploitation, piracy of commercial films, but also artistic acquisition of models, ideas, works by artists of the previous raised (Marcel Duchamp, Giacomo Balla, Gerhard Richter of marey's chronophotographic photographes). Depending on the views of these images, the viewer's distance and size of the prints figurative fragments are visible, legible or abstract constellations.

The series "Sabotage (Le Regard Dévoré)" (2007) is a work of digital image editing, or to considerations for working with the digital image typical properties. These were photographed on the screen of a large-format projection edited pictures again and again, which always brought new increasingly reinforcing changes. The picture is more complex and parasitic forms, structures and formations enrich the image and distort it more and more. The basic material is a selection iof photographes of young Asian women taken during a festive Bukkake party, a sexual tradition from Japan, which had its origins in a humiliating public penalty function of the unfaithful wife. The change and mutation of traditions, customs, social rituals, but is also of images and pictorial traditions is in the center of this conceptual work group. The significations overlap and the meanings multiplies.

The photographs "Torching" have been created in May and June 2006 in Paris, according to sketches made in Naples. These are shots of a Pompeian fresco representing a parade of people at a funeral. The shots were made through glass and a front window that opens to the outside space. Several shots merging: the parade of painted figures, the moving of museum visitors, the space behind them, the window that gives nothing to see, the silhouette of the artist as reflections. The borders are blurred, reality, illusion, memories, disappearance.

This group of works from photographs, was written between spring 2003 and summer 2005 and went out of the triptychs "transparencies out. The recordings were made in the rooms of the ancient Greek Populärplastik the Musée du Louvre in Paris, the Pergamon Museum in Berlin and the British Museum in London. It is a work with pictures, specific means: working with clarity and blur, pixel structure, digital imaging, close and distant observer of the work, illusion of space / resolution of abstraction. The transparencies are no multiple exposures, but later colorized and distorted photographs, which were installed by it or on the ground already existing lenses and mirrors. Handed down (ancient clay figures) meets Contemporary (presentation showcases), as well as interpretations of the ancient world (neo-classical facades, baroque space blankets). Confrontations are taking place: surface / depth, interior / exterior, geometry / anthropomorphism, space / volume / body, dead matter / living body of museum visitors and their reflections. Space and body are divided and multiplied by reflections, penetrations, overlaps, vistas. ... How to choose the eye? The Museum exhibits have now no similar meaning as in the time of their manufacture, they are reinterpreted in every age, misunderstood, lose their salary and are even worst for decorative pieces. The human figure appears in the transparencies on the move, at specific locations, cut, incomplete, reflected indirectly, negative, solarized, compressed. The presence of the human figure in the museum reminds us of the moment, the now moment of contemplation, in the near future and the irrevocability of their presence and the duration of its consideration of the historical museum pieces. The view is changing. The viewer will never see the same as at this very moment the workshop consideration. The work is changing, and the perception of the viewer. The form of narrow columns image stressed the idea of cutting Broken, of imperfection. Transparency in the work group, the question of perception of time and the contemporary, usually superficial and fast viewing and interpretation in the era of advertising and a flood of schnellkonsumierbaren use images will be provided.

The series "Empire (Film Stills)" was created in 2003 in Paris, and consists of 12 photographes of the same format. These are long exposures of film projections at the time of the Paris World Exhibition of 1900. These shots show the city with their innovations, subway with moving walkways for pedestrians, various street scenes and spectacular Empire architecture. These films of the 19. century were transferred to VHS-tapes a century later, and then projected digitally distorted, and photographed again. The image quality changes with each of these steps. As our perception and evaluation by time periods does. In violent contrast to the moving film images overlap white geometric forms which cut severely parts of the picture. These zones of the invisible, the missing, are part of my work on the space, to the incomplete perception, and to question an objective reality.

The series „Racines (Roots)“ was created in 2003 in Paris. It consists of 38 photographs in the format 68 x 91 cm and 20 smaller format 42 x 56 cm. The work deals with issues of movement and visibility. There is a survey of nature in an urban environment, its adaptation and eventual transformation. The symbolism of the root is of course quite banal. In a city where so many peoples, cultures and languages come together, where cosmopolitanism prevails and many homes with the temporal and geographical distance are idealized increasingly, where the roots and the stability of the city dweller play an essential role and where uprooting, meaning and values crisis and disorientation have serious consequences in such a city, a wildly overgrown root system acts on the eye almost programmatically. Starting point of this photographic work was very ill, almost panic rampant root system of a plane tree in the Paris downtown. At night dance around this tree and simultaneous shooting with extra long exposure times, a work group was formed by a large and dynamic presence. The works will be raised as glossy prints on aluminum - presented also in a luxurious presentation. This means a aestheticization / stylization and thereby alienating the subject matter and thus its deformation in the society.

The "Objets manqués / Missed objects" are a photographic project. All works consist of seven horizontal lined up photographs of the years 2000 and 2001. There were excerpts of details of everydays objects that come to enjoy a little photographic enhancement. It was chosen excerpts that are contrary to a traditional "consumption figure. These "missed" objects were rotated to the blurry, as if the focus to another object invisible or absent have been voted. Surprisingly, however, this led to aesthetic compositions. The subject is in an era of rapidly consuming trends and aesthetic down-leveling, where beauty sought little more, but still rather caused by the accidents and coincidences, not decisive.

The work group "Schleierraum" was created in 2004 when taking pictures of the renovation of the Grand Palais in Paris. The camera was mounted behind veils and it was photographed by such networks in an oversized interior. The extreme depth of the one part and the surface of the web structure and geometric patterns meet the other and connect. There are changes in place by the digital photography, new structures emerge in the network through the lens of the camera and the room behind seems thereby modified and deformed.

The experimenatl film "Le Silence Citadin" has been relized in 1999 and 2000 in the city at night and in a modern interior with 14 models from three continents. The shooting took place in Asnières-sur-Seine and Paris, was assembled in Basel. The music is by Luigi Nono. The film takes 12.5 minutes.

Thanks to Theo Grob, Daniela Hager, Dr. Emmanuel Siety, Kunstgewerbeschule Basel.
Thank you for your participation: Karen Bellanger, Kermaan Satha, Henriette Buegger, as well as Yasmeen, Céline, the two Magali, Catherine, Fatou, Colette, Séverine, Camilla, Marie-Françoise, Florence, Sina, and Yabina Idnaya.