Can you tell me a bit about the pieces in this exhibition? How long did it take you to make them?
All the pieces are recent ones that I made between 2008 and 2011, with one exception: there is a piece from the beginning of my ‘adventure’ that is 10 years old. This exhibition mostly shows my images, but also some of my sculptures. I started out as a sculptor, actually. And my images are not pure photographs. Some are light boxes with caoutchouc added, almost becoming objects.
What’s the idea behind the exhibition? Is your art a criticism of how technology rules our lives?
I create fictional universes, informatic universes, with the help of computer carcasses. I am fascinated by them. I wouldn’t say that I’m a critic of the technological progress. But I am fascinated with the concept of dehumanization. Computers have become a very important part of our lives. They are like brains. You can install your own memory on them, in a way. I guess my attitude towards them is rather ambiguous. Sometimes it leaves the impression that I am a technology critic, but that’s not really true. Also, I try not to be didactic with my art, I prefer to let the viewer interpret my work the way he wants. The question is asked a lot and it actually embarrasses me a bit each time.
Your images seem very dehumanized though.
I am fascinated with the so-called ‘non-lieu’, places that are not real places, that are of a transitional quality, like parkings or airports. It’s true that I never show people, and that’s a choice of course. For some reason I am drawn to deserts, empty places.
How has your art developed over the years?
I don’t look back much, but when I do I see differences and changes as well as constants throughout my work. For example, my treatment of objects inspired by Duchamp or the use of metallic carcasses. Years ago I worked with car carcasses. I empty the piece and reinject my personal vision. For example, I once made a sculpture out of a car piece that looked like a belly or a butt, but not like the original object anymore.
Did you always know you’d be in artist?
I knew at a very young age what I wanted to do and was very determined to get it. I think I was 14 or 15.
Where did this artistic determination come from, did you grow up in an artist family?
Not at all. I don’t know where this urge came from. It was just inside me. I didn’t grow up in very stimulating surroundings.
What influences and inspires you?
I don’t think there are any direct influences. Sometimes, when I’m finished with something, I think ‘Oh, maybe it was inspired by this or that’. But not consciously. Music plays an important role. Some say there are sounds present in my images, and I like that thought. Personally, I like the minimalistic side of Brian Eno. I listen to a lot of electronic and ambient music. One of my sculptures is named “Dark Star”, after a song by Harold Budd. I also have a strong to affinity to architecture and like to play with perspectives.
What’s your working process like?
I start out with a little plastic piece, look at it, let it intrigue me, and then I decide what to do with it, from which angle or perspective I want to show it. For example I reproduce objects that fascinate me and give them a new life. The black sculpture displayed here, many people associate it with a piano, but it’s not. The interpretation is open. What counts is the mental projection. The ‘look’ at things is important. I always start out and get inspired by just looking at certain objects. When I know what to do with it I take a picture of it, eliminate certain details, then put them in a scene, choose the perspective, and combine them with photos of a location for instance. There’s work with photoshop involved and then there’s also the creation of the final object, like putting it in a light box etc. I never get up in the morning and ask myself: What will I do today? Inspiration just happens. I look at things I like, not at this Coca Cola can, for example.