Best With a Dash of Worse

Hand made | Dimensions: 8"x8.5" | Cover: bare book bord with a projecting Kodak Color Slide inset

While the inception of this project might have been a personal search of identity, it has become, in some sense, a comment on the role photography plays in our lives, its impact on our perception of it, memory & record keeping, nostalgia, loss and happiness. The book is hand bound, self printed and titled best, with a dash of worse. It is organized around three themes, each focusing on one aspect of memories and family albums: home, water and female figures. The book embodies both appropriated images and photographs I’ve taken myself. Some of the found images are scanned and some re-photographed by me in various contexts and environments. Although the book is not following a typological system, the three themes almost make a systematic rhythm, as they repeat in a 5 seemingly specific sequencing order. The method is broken to begin with, yet it still makes sense in the book as a whole. The cover of the book is made of a raw book board. One Kodak color slide is debossed, and flushed onto the front cover. The slide’s content becomes apparent upon lifting the cover, and when light passes through it.

Property of the NYPL Picture Collection

Hand made | Dimensions: 8.5" x 11" | Cover: canvas archival pigment print wrap

The New York Public Library Picture Collection caches over one million original prints, photos, posters, graphics, magazines, illustrations and texts sorted into thousands of binders, each with a specific category and subject. One binder, “UFOs”, claims to hold and archive our cultural interest in the existence of extraterrestrial life. A binder that was composed into this book. Property of the NYPL Picture Collection contains over 200 pages. This book was hand crafted and is currently a one of a kind publication with only one copy made to date. The book’s cover is a canvas inkjet print, which was then, used a book cloth. With 14 paper signatures the books holds over 100 images all scanned and than manipulated in Photoshop. The picture collection’s signature stamp has become a crucial graphic and conceptual element within the book’s pages creating juxtaposition between the printed matter and the physicality of the archive. The book does not attempt to make a scientific observation. There was no research done. There has being no attempt in reading the books from which the images were taken, or understand their original and larger framework. The images were used as pictures, and pictures only.

Dear Artist, We Regret to Tell You

Hand made | Dimensions: 17 x 8 cm | 'Behr' paint color swatch's in various shades | Laser etched text

Dear Artist, We Regret to Tell you is a book that celebrated rejection and failure as we have all lived through it. I collected 13 [lucky] rejection emails from my inbox each laser etched individually on a color swatch.  The leaser burns off the first layer of the paper, revealing the white under the color. I used Bher color swatches, first because they are free and easy to get, and the secondly because they hold so much potential in them – they are titled in such a way that makes you smile and hope that your life, or at least your room, could be as good as this paint chip claims. In the end, rejection letter have a tendency to be generic, one sided and repetitive, no rejection letter is special which stands in contrast to these color swatches. The fan format allows the viewer to look at the letter as a group or as an individual as there is no real start or end to this publication. Edition of 150 | The book is available for purchase - please send email to get information


Hand made | Dimensions: 8"x8.5" | Cover: book cloth with front envelope inset sealed with wax

The statement that represents the book is the definition of its title – cache memory. The decision to name the book and present it through this definition is handed down as recognition of what is hidden in photographs, coded and read through context; that photographs can unfold memories but not necessarily the same ones that were originally embedded in them. I’m researching a history that I don’t see as actually mine; Family memories that I am not part of. The images become objects that I use in order to create a new history and memory of my own; people and places as I would like to remember and understand them. I started not only looking for my identity in the old photos but also reflect my feelings from these photos on to the world around me. I look for Moments and objects were there is a tension that is created by their incomplete aesthetic. Photography allows me to look at the little and unimportant objects around me and make them a part of my history just by giving them attention. By looking at them I capture them to remember, not letting them go away, yet not trying to save them. Watching their last seconds before I leave and the moment becomes irrelevant, capturing their last breath. With my camera I grant them with eternity and in that I grant myself a memory. The book cover has an envelope that is sealed with a wax fossil stamp - just like the content of the book there is always something the reader can not open fully even though it is right there for them to see.