General statement
My artistic practice is clearly photographic, and the issues I touch upon are related to societal topics. Thematically my practice has been twofold: on the one hand majority of my work has discussed issues relating to violence (both in structural level and as concrete form of action, both subjective and objective violence), and on the other hand I have touched upon topics relating to male being and production of male identity.
Theoretically much of my work falls into practice that can be categorized as documentary. However, in my use documentary does not refer only to classical straight photography or other observative methods − photographic approaches that are based on issues and discussions around 'authenticity' or 'indexicality' − my work rather activates critical practises within documentary discourse. As a form of expression documentary is not only a constructed argument, it also alludes to concepts such as verisimilitude and dramatized or narrated real. I also tend to use documentary as a generic definition, seeing documentary as a practise that guides reception and meaning making, both at the author's and viewer's end.
In relations to this I understand photography as an engaged medium that invites all participants into an aesthetic and ethical interplay. Photographic art is a medium that has unique possibilities in taking part to the critical discussions in contemporary society, by evoking conversation and debate and by cultivating emotional life and diversity in thought.