I call my works landscape paintings. They are photographs of reflections
off surfaces of paintings. I use enamel paint in the paintings that
serve as backgrounds for the works. I photograph these paintings in
different environments and lightings. The eventual work is a laminated
colour photograph the size of the original painting. Thus, the work
consists of different planes: the original painting, the reflection and,
eventually, the spectator’s own reflection off the laminated surface.
The works are in different sizes, from 50 x 64cm to 120 x 150cm.
When painting, I let the material qualities of paint and thinner effect
the end result. Even things traditionally seen as technical
problems—such as dust, variation in surface shine, and even loose
bristles from paintbrushes—can be utilised.
Taking the photograph brings yet another element of chance into the
process. The surrounding light changes the colours of paintings and it
is almost impossible to predict how the film is going to react. It is
impossible to control the way the reflections turn out, because I cover
a large part of the viewfinder when taking the picture. To balance the
situation, I take a large number of photographs and accept chance as my
co-worker.