Spaces—urban, private, public, interior etc.—hold a complex embodiment of meanings. The stone, steel, and mortar of a city or a landscape hold embedded imprints of the collective aspirations of different eras. Disorder and order are in constant flux, as the landscape expresses grandeur or devastation, oppression or dynamism.

How demarcation can be achieved through decoration and organization, the way individuals express themselves through how they organize, use and decorate their spaces, and how this can be seen as an expression of cultural values, ideals, beliefs, individual taste and sensibilities; and how architecture and decoration can reflect temporary liberation from everydayness are discussed in these photographic works of interior spaces.

As of late these have expanded from looking primarily at interior spaces to looking at exterior spaces. When working with exterior spaces, I am interested in looking at what I call charged sites, sites endowed with significant histories. However, my images offer little or no discernible evidence of this history, either the past event or any current tensions associated with it, the implications being that significance can only be materialized by human experience. My works explore the relationship between space, memory and history, and increasingly the notion of the trace.

While my past work more often than not omitted the object, the relevance of the object in different contexts and production has regained importance. Objects stir recollection. They inspire stories, and retelling these stories constitutes memory. For individuals, as for communities, it may be said that memory is identity; at the very least it is an essential part of it. To lose your memory is, quite literally, to no longer know who you are, and I believe we have all witnessed the consequences of such loss. Since memory is constantly on the move, so too are the narratives in which the meaning of objects is embedded. Forever evolving and reshaped in order to make sense of our present time.