I was skateboarding for all of my teenage years and I just documented what we were doing. Skateboarding back then was a small scene, you’d head down to the local shop to watch the newest videos on VHS imported from the United States. It carried out that spirit of expressing yourself through your style on the board, films, graphic design or photography. And I was very drawn to and inspired by that – this certain fuck-you-attitude, in terms of ‘we do what we want’, jumping between disciplines, having a creative vision and applying it to different media. I think up until today that still reflects my mode of working very well.

I’ve always been interested in photographing human beings, and back when I started out it felt like fashion, in the broadest sense of the word, offered a lot of possibilities to explore that. I assisted a fashion photographer after graduating high school for one year, and that was essentially how I came to Berlin, where I then started to study at University of the Arts. I was experimenting a lot back then – graphic design, posters, photography, film, etc. –, but it was after a year in London that I really put my focus on photography and filmmaking.

Of course, I have people whose work I admire, artists from all fields that inspire me. References are interesting as soon as I have to translate them. I think it’s irrelevant to just copy another fashion photograph. It’s about looking at a sculpture, a film, a performance or any document or happening and put it together in a new way that is relevant to the present.

There is usually a framework. For me it is more about picking the right projects where my vision and what the project demands align the most. Some people get what you do, and projects usually turn out better when you are both on the same page because it is a collaborative process. Having said that, I also enjoy a challenge.

It is about beautiful mistakes. 

I always work with digital.

Not necessarily. But it’s a lot about the right colour for me. 

It is expandable, stretch, and bendable. Photography is more poetry than fact.

Yes, in the same sense that everybody is a writer. 

I try not to think in categories too much. I photograph what I’m interested in, and that can be anything as long as it is somehow relevant to what I try to do. 

I wouldn’t say I’m moving completely towards filmmaking, it’s more that I love the tension between my photographic work on the one side and my filmmaking on the other. But it is true that I’m very interested in filmmaking and in moving away from fashion to try to explore different, broader concepts.

It is meant to be a subjective portrait of the times we live in. Imagine an elevated version of the content found on mobile phones around the world, condensed into single, cinematic frames. It’s about creating a certain feeling through these vastly different images and emotions coming together, forming a new whole.

It works as a spatial piece, not as a narrative film. It is about immersing into these singular frames in a continuous loop, the images taking over the whole room, more like modern day paintings. 

Yes, definitely! It’s very important to have a well-informed political stance, especially nowadays.

Absolutely. Something visually stimulating opens doors and helps transport a message. Intelligent content is always sexy.

Continuing, developing what I do. Delving into broader fields of filmmaking and image making.