The notion of transient flickering in between images drives my process. Process and materiality of an image's language is that of the everyday, banal interiors and a city's landscape. Human presence is always visible in its fleeting traces-people however are absent or merely glimpsed from afar windows when someone moves past the camera.

I have systematically removed all human presence in these films, resulting in the remnants of static, so called "pillow shots ". They underline a particular aesthetic of everyday compositions. Laundry blowing in the wind or a clock-slow, passing time is all that is left.

The still nature of the videos themselves, the videos referencing painting and vice versa all come together, sharing a starting point, the frame: All paintings depicted take a film-frame as their source. In IMG (see clip) the empty frame became literal as a sculptural object and then shifted into a formative act of moving it through the landscape of the city and then its documentation in video; a shifting between mediums and processes, the work occupying a gap, an in-between space.