Instead of addressing the subject alone, my photographs partly operate in the area of language, with its own laws. I apply my knowledge of the photograph in the most diverse ways possible. The figurative element is toned down to permit the ascendancy of the interpretable.
The main tool is light, in more precise terms the relation between light and material, most often metal, glass or paper. The final imagery can consist of round, elliptic or triangle-like forms, but the most important thing is the role of emptiness.
I tend to let the points of identification and the scale typical to photographs fade away. Elements of painting and drawing come along this way.
Like poets, I try to catch the idea as long as it is fresh – touch the fragile area between the material and the immaterial. There has to be space for chance and play, a certain balance between concentration and lightness.