Hotel Astoria, 2005 Laksegade, København, 2005 Universitetet, 2005 Chapel Street, Liverpool, 2007 Royal Liver Building, Liverpool, 2007 Zeytinburnu, Istanbul, 2007 Skulagata, Reykjavik, 2007 Borgatun, Reykjavik, 2007 Albert Platz, Dresden, 2008 DUMBO, New York, 2005 Hotel Myvatn, 2007 Klintegården, Aarhus, 2004 Marselis Boulevard, Aarhus, 2004 Langelandsgade, Aarhus, 2004

 

Off Location, 2001 -

Serien består af en række fotografier der forestiller bygninger og steder i det offentlige rum. De fremstår umiddelbart velkendte og fortrolige som bygninger og pladser, men billederne har samtidig en fremmedgørende og ’unheimlich’ karakter. De er digitalt retoucherede således, at alle spor af menneskelig tilstedeværelse og adfærd er fjernet. Biler, cykler, trafiksignaler, graffiti, døre, vinduer mm. mangler, og arkitekturen fremstår derfor ude af skala og fremmedgjort som en slags parallelvirkelighed. Der er ikke tilføjet nogen ny information til billedet, der ikke allerede findes i forvejen. Der foretages udelukkende en reducering af information og en fjernelse af forskellige elementer i billedet. Hvert fotografi er sammensat af flere digitale billeder for derved at opnå tilstrækkelig høj opløsning til at retoucheringerne fremstår troværdige.

Fotografierne spiller rollen som klassiske, dokumentariske fotografier, der uprætentiøst blot viser hvad der er sat foran kameraet. Men fotografiet afkontekstualiseres fra entydigt at henvise til et bestemt sted, en bestemt lokalitet (sådan som det ellers er fotografiets natur), til at glide over mod et billede af ren form og arkitektonisk plan.

Retoucheringen bidrager til billedernes urovækkende effekt.  Det kendte, det genkendelige gemmer noget umenneskeligt, noget uhyggeligt således at vores almindelige, trivielle hverdagsrum reduceres til et mennesketomt kulisseunivers, der til forveksling ligner virkeligheden.

Off Location, 2001 –

This work consists of a series of photographs that represent buildings and recognizable locations in the public space. The buildings at first appear familiar, but at the same time there is something alienating and uncanny about these pictures. They have all been digitally retouched, so that all traces of human presence and activity have been removed. Cars, bicycles, traffic lights, graffiti, doors, windows and so on, are missing, making the architecture seem out of scale and alien, like a parallel reality. This is without adding any information that was not there to begin with. All that has occurred is a reduction of information, along with a removal of various pictorial elements. Each picture has been composed of several digital photographs in order to achieve a resolution high enough to make the retouching credible.

The photographs play the part of classical, documentary pictures that unpretentiously show only what has been placed in front of the camera. However, The photograph has thus been decontextualized. Instead of referring unmistakably to a specific place, a particular locality (as is normally the nature of photography), it slides toward an image of pure form and (architectonic) plan.

The retouching contributes to the disquieting effect of the images. The familiar, the recognizable, hides within it something inhuman, uncanny, reducing our ordinary, trivial, everyday spaces to an uninhabited, set-piece universe that shows a deceptive resemblance to reality.