My work with music and musicians adds an aspect of temporality not necessarily present in the single still photograph. When temporality materialises in my human body, motion and movement comes into play. I’ve shifted from still photography into timelapse photography, but shied away from continuous video. In the presented works, the natural (is there even such a thing?) passing of time has been cultivated. Altered. Tampered with. Are the pieces edited versions of time passing. Or is it photography’s way of making and marking time?

My work is inspired by posthumanist theory, feminist new materialism and a Scandinavian noir visual aesthetic. I engage in a photographic research process where I use my own body and physicality to intra-act with space, structures and motifs to explore how photography can dissolve dichotomies such as subject/object, nature/culture and human/non-human.

My knowledge is constructed as an embodied experience. Paraphrasing Karen Barad (2007:49, 55-56, 121); My understanding of the artistic practice does not come from standing at a distance but rather from a direct material engagement with the world. Theorizing, like experimenting, is a material practice - not about intervening (from outside) but about intra-acting from within, and as part of, the phenomena produced. Result, method, interpretation, epistemology, and ontology are not separable considerations.

This is photography as research. And research materializing as photography.

BARAD, Karen Michelle (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Durham, N.C.: Duke University Press