My initial position is that different kinds of images needs varying morphological processes to create the desired tension. By juxtaposing diverse expressions and combining images that have (probably) never been coupled before, my work is a pursuit to exaggerate whatever punctum that originally triggered me, to enforce it, with any means possible.
I sometimes notice a confusion concerning my apparent lack of consistent style and get questions why I treat my paintings, computer printouts and posters in such a manner as I do. One common question is if my inkjets and posters are study material which I choose to show next to the paintings for various reasons, to make my work process-based or as a strategy to deal with authorship, but this is not the case. Even though I understand some of the risks of such a strategy, a major part of my practice is a sought suspension which is only possible with diverse styles and sizes, materials and contexts.
An interest in media archaeology and the specific characteristics of the mediums dealt with have made up the basis of the selection of images used; sources bearing qualities of evidence, of making or proving a statement, documents with convincing powers in whatever field they originated from. I tend to find that subjective truths are usually more interesting than the consensus decided objective ditto; whether it is a mother that presents her daughter as magnetic or someone who is convinced he has captured Virgin Mary on his mobile phone. My artistic point of departure is an oscillation between medium, source and equivocal interpretations.