Beun (2016)
My lens-based practice is fundamentally concerned with challenging conventional conceptions of architecture. My work unfolds in urban places and buildings but it is not architectural photography; instead it uncovers unexpected narratives and traces of history embedded in the place. My images challenge predominant models of architectural photography and video through a reconfiguration of the image of architecture.

The writer Robert Shore of the recent book Post-Photography: The Artist with a Camera (Laurence King Publishing, 2014) states that the real world is full of cameras and the virtual world full of images. One of the most significant tropes in recent photography has been the turning of the documentary photograph into an image made after something has happened. Whatever its indexical primacy, photography is now a secondary medium of evidence. Today evidence of disputes and classified information comes in the wake of the Internet, social media and the television.

Beun (2016) is a lens-based work positioned in what Robert Shore describes as the ňúsecond digital evolution". Beun opens up a unique conversation about the contemporary socio-digital conditions of our photographic and filmic culture in relation to environments of conflict and dispute. My video piece engages with society's increasing desire to capture and disseminate images of conflict nowadays a common phenomenon due to 24-hour repetitive news broadcasts, social media and Instagram. In our current culture, sites of conflict are no longer censored in any form but rather made into media spectacles. How, then, can we describe traumatic events or classified sites without veering into sensationalism? How do we provide information without succumbing to over-hyped curiosity or conflict porn?

Beun begins with an Associated Press Photograph of a concentration camp in Germany, which I culled from a private photographic archive based in London. I translated this image into a life-size set in the studio, following the same spatial arrangements, dimensions and lighting conditions of the archive image. The set was placed on a180degree revolving stage platform, which involved a rotation around the spaces own axis, allowing the viewer to look into the space.
(The title Beun refers to the 17thCentury Dutch translation of stage as an elevated space of wooden planks.)

I then use digital techniques of data-bending, altering the visual codes of the video file. By digitally corrupting the video file, the video becomes profoundly damaged and transformed into a kind of crashed video. Beun suggests that the directness of traditional reportage is replaced by images that themselves can be described as wrecked or bruised.