Sometimes I make my work for public space, other works are with and about photography.
The connection between the two types of work is to be found in the themes of history, (collective) memory, the absence of (photographic) images, seeing, reflection on seeing and its residue: what should be physically present, or, what do we need to see in order to generate a memory? How can an autobiographic memory transform into a collective memory, and what kind of social role plays photography in this process?

I can’t think of another medium what has such an immediate relationship with memory than photography does.
I'm looking for different relationship with the photograph. Usually we look straight through a photograph towards the scene that is depicted. Instead, my work often carries the possibility of making this ‘transparent’ medium receivable itself. So far this notion has resulted in projects like the vernacular photography archive, and projects like After Images, Dark Dunes and Retracing.

Right now I am working on a photography project about the Robert F Kennedy funeral train, that rode from New York City to Washington D.C., carrying the dead body of presidential candidate and Senator Robert F. Kennedy, on June 8, 1968.

After a residency at the Rijksakademie van Beeldende Kunsten (Amsterdam), I began investigating the relationships between perception and memory, by making slideshow installations and books. My work is held in various collections, including the collection of the SFMOMA (San Francisco), MoMA Library (New York), EYE Film Museum (Amsterdam), Nederlands Fotomuseum (Rotterdam), The Royal Museum of Arts (Brussels), Yale University Library (New Haven), and the Getty Research Institute (Los Angeles). Furthermore, I was nominated for the Dutch Doc Award in 2014, and I teach fine arts and photography at Minerva Art Academy, Groningen (NL).
During the spring of 2017, I undertook a Smithsonian Artist Research Fellowship in Washington, D.C. to work on the project RFK Funeral Train - The People's View.