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On a personal level, this series began as a challenge to myself. I wanted to reconstruct my working methods and understand what I was capable of as a photographer when I denied myself my usual starting points and fallbacks.

The bonsai tree is a living object stripped of all that is inessential. I wanted to make pictures that would speak to each tree’s essence, its history and its dignity.

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Amber Room series explores the condition of nostalgia in the context of migratory experiences and shifts in political regimes. It is made over two years in between Lithuania and Scotland, however I have attempted the theme a few times before. I have worked on unfinished pieces The Magic City and Looking for Signs of Summer in the Rainy Country since 2008, but both were left behind as I struggled to conclude them.

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My project ‘Exquisite Errors‘ is about the beauty of deviation. We live in a world where it has become customary to attach a label to a person who deviates from the norm. Since the American DSM, the Diagnostic and Statistical Manual of Mental Disorders, is also used in the Netherlands, Dutch adults and children who differ from the majority are labeled and classified as patients suffering from ADHD, PDD-NOS, Asperger’s, Borderline or Autism/ASD.

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This is a series of street photographs taken in the City of Swansea, South Wales. This series is a glance at contemporary South Wales; it was shot over a period of about 8 months, on and off. None of the images are staged; these are all photographs of completely random situations I stumbled across while wandering around the cities in “flanuer’ fashion, reacting instinctively to events unfolding around me. I think this series counters some of the stereotypes that South Wales seems to be shackled with and portrays  the area in a different perspective, a place abundant with people from all walks of life, rich in history and a vast blend of cultures.

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I come from a small village located in the east of Holland. A place where ambition is not very high on people’s priority list. Pursuing a form of higher education was also not really encouraged. I never felt like I belonged there. I was a dreamer, an outsider to them, wanted to get away from everyday life and always dreamt of escaping to the big city. It is there where I would feel understood and start anew.

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It was in 2009 when newspapers published an article about the last British World War I (WW I) veteran who died at the age of 111. I felt in that moment that a piece of history was gone forever; a living piece of history disappeared forever and WW I will thereafter never again be so painfully real. Without the people who fought on the frontline, WW I will feel like just a remote historical event.

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The series “Inner Urban” speaks to the complex relationship between humans and the urban environments we build and inhabit, therefore the messages and themes driving this series are multi-faceted and a bit circuitous. Definitively, I can tell you that this series was brought to life to speak to what I perceive as many of the shared concerns that are a by-product of our growing global urban existence.

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I’ve been working on this body of work – Q&A, for a little more than four years now. I usually describe it as an investigation into the visual mores applied when photographing the U.S.A, and an inquiry into the relationship between a place and its own mythos. I’m really excited by the idea that for a significant proportion of people, ‘America’ exists visually as a somewhat abstract concept. The history of the last 60 years of popular culture is, with the odd deviation, the history of American popular culture. As a result, there is this enormous mess of visual tropes which all point to various notions of what the U.S.A. look like; flags, mountains, cars, guns, roads etc. This is at its most effective I think when you realise that this strange quirk of culture has the power to provoke a familiarity for a place without the need to have actually visited it. There is no doubt other places in the world that prompt a similar reaction but none in quite the same way or on the same scale as the visual motifs of America do.

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