Influenced by the idea of the “road trip” in American photography, exemplified in the work of such photographers as Robert Frank, Stephen Shore, and Joel Sternfeld, the artist sets out to find scenes and situations that seem to be “in between,” neither landscape nor cityscape but existing in an ambiguous space so called “nowhere.”
The unconventional vases are customised for the weeds. The forms are inspired by their different characters, postures, textures, or stories. The materials used are artificial and suggest the living space of human beings. We tried to make the normally ignored and unwelcome weeds become the focal point, living harmoniously in people's interior habitats.
Townships were created for the blacks and separated from white residential areas by buffers. The denial of common rights produced a dual city and a dual nation, diverse urban worlds existing side by side in the same geographical space. Intermingling was rendered impossible by a whole administrative apparatus of laws, prohibitions and punishments.
Family albums had become a standard in a process of portraying a family and the creation of a collective memory. Things as a birthday cake, children taking a bath or a family trip have become a portrait of the normal memory. Sometimes we don’t even remember the occasion but we can relive it by looking at the picture and assuming we remember the memory it represents.
My images are about souvenirs or memories of certain places or actions. I think of them as visual echoes. There is something very intimate and familiar about these images but it is not shown overtly. It is alluded to in ways that makes the viewer start thinking of what it could be. I wish to trigger this mechanism in a visual art form.