My interdisciplinary practice considers the archive’s role as an institutional system of representation, its part in the creation and regulation of specific historical narratives and how such narratives shape our relationship to the past, present and future.

The photographs used are appropriated from diverse sources: office furniture catalogs, encyclopedias, museum and newspaper archives, books on military history, design history and the history of Western Art. My series Formations, for instance, juxtaposes images of attack formations used in WW2 with office furniture arrangements to point out the parallels between bureaucratic and administrative processes, and mechanisms of rationalization used in warfare and the work environment.

Zeppelins and Phalluses, by contrast, compares images of airships with votives from the ethnographic collections of major Western museums. Beyond their formal echoes, these juxtapositions reveal the connections between warfare and the discipline of archeology as physical and ideological manifestations of colonialism and white, male supremacy.

While my work adopts the visual language of collation, classification and presentation shared by different archives, the diversity and seeming contradictory nature of the material grouped together undermines any claims to accuracy and objectivity, and reveals the archive’s partiality, inconsistencies and exclusions. Through the creation of doubt, my installations aim to question the authority of the photograph’s status as bureaucratic evidence, and the archive's nature as a repository of truth, memory and history.