At the moment, and as part of my master’s degree in photography, I’m working on a project around places and memories. How memories are perceived, preserved, and fabricated.

Rather than phrase strategies for sustainable production, dissemination, and consumption, I’ll approach my visual practice to form a sustainable (post)human becoming.

The Dudes suite is part of an ongoing photographic inquiry of theories around subjectivity, intra-action, socio-materiality, and dissolution of dichotomies such as nature/culture, knower/known, other/self, natural/artificial, and straight/queer.

You know how a memory can be strongly connected to a photograph? To the point that you’re not sure if you’re remembering the actual event or merely the photograph. This brings up themes of subjectivity, materiality, and non-human agents.

Video transcript; Now - the topic for today. If you’ve seen my videos from before, you know that I’ve been working from a small office/studio space in my home. Since about half a year, my creative work takes place in the attic space of a 1930s school building. This is the story of how I made that into a functional and aesthetically pleasing studio environment.

We will dance with the people we love. We will write songs, paint pictures and make movies about all the things that concern us. No matter what your thoughts are on that. This is the very essence of making art. This is how we think about things that are hard to verbalize. This is the exact point of cultural expression.

Let’s assume that any photograph is published with an intention to communicate. In some sense resonate with the viewer. There might be a suggested narrative, an implied emotion, or an aim for visual poetry.

The inspired artist is a myth. You need to get work done. Work does not happen by sitting around waiting for inspiration. Getting work done brings a sense of accomplishment. And most likely an improved skill set together with new ideas. Consistent work trumps inspiration.