VOIDS is an ongoing series of photos in which a series of scenes are depicted. Some are based on well known paintings others are night time photos of otherwise busy places. What they all have in common is that they suggest the taking place of an action, but that the active element is gone. In the Ophelia photos, Ophelia is nowhere to be seen, only the dark water with a few scattered flowers – is she below or has her body already been recovered? When does an image link or attach itself to a wellknown narrative – how many ‘hints’ does it take?
In Nightmare the composition of the painting of Fuseli is reproduced in an everyday contemporary setting. Once more the person with which we identify in the original painting (or who is the focal point for our attention/empathy), is gone. The bed suggests a sudden exit, as if someone was sleeping but awoke and rushed away. Did the lady from the painting wake up and turn on the light? Are we ‘after’ the original painting in terms of the narrative?
Some of the photos don’t deal specifically with a narrative or painting, but simply depict scenes which are void of people. These are also studies in night photography.
Nightmare - after Fuseli
Ophelia02 - after Redon
Ophelia03 - after Millais
Parking
Elaine01 - after Atkinson Grimshaw
Playground
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