VELVET FIELDS deals with the increasing virtualisation of human behaviour and their relation to elusive and amorphous virtual clouds.
The exhibition project circles around the idea of an alienated human intimacy and the construction of the perfect romantic image.
As a symbol for divine mystery and protection, clouds are generative, destructive and enigmatic. In that context I refer to the constant feed of contemporary clouds that extend the human environment, and thus become a symbol for the transcendental of our time.
Visually, this series is a play with photoshop masks and artificial cloud-stamps that pretend to float real environment, creating a connection between virtual and real space. The perfectly constructed image is faded out, and its construction masks appear as the “b-side of the image”: digital retouching traces that form a certain kind of drawing. These abstractions are metaphors for a naive conception of the actual availability of the comprehensive and the fugitive. Photoshop masks that usually serve the construction of supposedly perfect images, are being set against the human body. Organic, carnal formations, and surfaces that simulate rosily shimmering, translucent skin, are reminiscent of something unspecific natural.