Debris investigates the representation of 3-dimensional objects into the 2-dimensional space of photography. The translation happens at least twice in the work: Firstly, in the pictures of ancient sculptures; Then in the pictures of paper sculptures made of printouts of those original images. A tension is created between the representation of the volume of the marble/clay sculptures and the representation of the flatness of the cutouts. The background and lighting imply a perspectival space that is incongruent with the volume of those heads, generating an irrational, pictoric space.
The paper heads are built through cut and fold - no subtraction or gluing - to be able to physically stand on their own. This process of constructive engineering ‘melts’ the heads into their background.
Alongside the interest on spatial representation in Photography, the work is also interested in an inherent expressive quality from the faces. There is a certain pathos to the fact that the people who inspired or created those sculptures are long gone. That the world they inhabited, to a certain extent, is long gone. Sometimes black pupils are added to them, so that they can look back at us across centuries or millennia. Ship wreckers of time. The people who became stone and the people who froze them, are – as in all photography - the faint light of dead stars.
