One project that addresses the issues of class, gender, and geography is the series Go for Gold! (2006 – 2016), a ten-year photography project that investigates the transformation of the East London landscape in preparation for, during, and after the 2012 Olympic and Paralympic Games. The overarching critique of the project is how the Olympics and Paralympics have been transformed from a sports to an economic mega-event in which urban regeneration plays a major role.

Another project that addresses the larger issues of space, class, and geography is Basement Sanctuaries. Basement Sanctuaries explores how superintendents decorate the basements of apartment buildings in Northern Manhattan, NYC, by illuminating the process of migrant adaptation to the metropolis from an intimate perspective.

Since having moved to North Carolina in 2013, I have also built race analysis into my study of space and geography. At the Hands of Persons Unknown (2013-ongoing) consists of a series of photographs, a video, and a moving lamp. With this work I explore how trees have been silent witnesses to the lynchings of women in the American South during Reconstruction and the Jim Crow era. In most cases women were lynched along with their husbands, sons, or brothers. The project is inspired by the fact that my African-American husband and I would not have been able to have a relationship during that time period as miscegination was not allowed. If detected, one of us or both may have been lynched (read more on the At the Hands page).

Oppressive Architecture explores and documents the relationship between architecture and oppression in different historical moments - American slavery and German Nazism. Oppressive architectural structures are being photographed in a cross-section of places in both countries. The project examines similarities and differences in the inhumane ways that prisoners were forced to live and labor on southern plantations and in German concentration, labor, and death camps as represented by their architecture. It explores how these architectural structures continue to influence the contemporary landscape, its inhabitants, and our understanding of history. The project’s contribution is its documentation of a wide range of remaining physical structures of oppression. It also recognizes their historic value and raises questions about how architecture can be used to commemorate and reconcile a country’s past.

Plantation Still Lifes: While photographing the architectural forms at Southern plantations for the Oppressive Architecture series, I collected plant specimens - the new inhabitants of these places - and photographed them in the lighting studio. This served as a way to dislocate the specimens from their original spaces – the same that happened to the former slaves that were forced to live and labor on these plantations. 

Below Forest: Below Forest is located 180 km northwest of Berlin. Shortly before the Red Army approached the concentration camp Sachsenhausen and its sub-camps, 33,000 prisoners were sent on the so-called death marches. They had to march 20-40km a day without any food or water. Who was not able to walk anymore or tried to steal food or water was shot dead. Between April 23-29, 1945, more than 16,000 prisoners camped in Below Forest before they were freed by the Allies. The video refers to the horrors of the concentration camp (black) and the unknown future (white) as either being death or freedom. The video references the importance of the forest in German culture. In particular during the Third Reich the forest was equated with harmony and therefore is in stark contrast to the way the forest is presented in the video and probably was experienced by the prisoners.

What Remains of the Day – Memories of World War II: grapples with time and memory in contemporary Germany through images of places and people. I photograph a range of places that evoke the horrors of the Nazi regime by overexposing the photos so that only traces of the resulting images are recorded. Much like memory, the photographs are fragmented and ambiguous, and either in color or black and white. I overexpose the images of places for one second for every year since the war ended. For example, photos taken in 2016 (71 years after the end of WWII) were overexposed for 71 seconds. I explore people through portraits and interviews. I select a range of people who experienced the war: including (Holocaust) survivors, Nazi supporters, German bystanders, and Allied veterans. These interviews present personal perspectives on the war and the Hitler regime.arty, Allied soldiers.

 

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Project Statements

One project that addresses the issues of class, gender, and geography is the series Go for Gold! (2006 – 2016), a ten-year photography project that investigates the transformation of the East London landscape in preparation for, during, and after the 2012 Olympic and Paralympic Games. The overarching critique of the project is how the Olympics and Paralympics have been transformed from a sports to an economic mega-event in which urban regeneration plays a major role.

Another project that addresses the larger issues of space, class, and geography is Basement Sanctuaries. Basement Sanctuaries explores how superintendents decorate the basements of apartment buildings in Northern Manhattan, NYC, by illuminating the process of migrant adaptation to the metropolis from an intimate perspective.

Since having moved to North Carolina in 2013, I have also built race analysis into my study of space and geography. At the Hands of Persons Unknown (2013-ongoing) consists of a series of photographs, a video, and a moving lamp. With this work I explore how trees have been silent witnesses to the lynchings of women in the American South during Reconstruction and the Jim Crow era. In most cases women were lynched along with their husbands, sons, or brothers. The project is inspired by the fact that my African-American husband and I would not have been able to have a relationship during that time period as miscegination was not allowed. If detected, one of us or both may have been lynched (read more on the At the Hands page).

Oppressive Architecture explores and documents the relationship between architecture and oppression in different historical moments - American slavery and German Nazism. Oppressive architectural structures are being photographed in a cross-section of places in both countries. The project examines similarities and differences in the inhumane ways that prisoners were forced to live and labor on southern plantations and in German concentration, labor, and death camps as represented by their architecture. It explores how these architectural structures continue to influence the contemporary landscape, its inhabitants, and our understanding of history. The project’s contribution is its documentation of a wide range of remaining physical structures of oppression. It also recognizes their historic value and raises questions about how architecture can be used to commemorate and reconcile a country’s past.

Plantation Still Lifes: While photographing the architectural forms at Southern plantations for the Oppressive Architecture series, I collected plant specimens - the new inhabitants of these places - and photographed them in the lighting studio. This served as a way to dislocate the specimens from their original spaces – the same that happened to the former slaves that were forced to live and labor on these plantations. 

Below Forest: Below Forest is located 180 km northwest of Berlin. Shortly before the Red Army approached the concentration camp Sachsenhausen and its sub-camps, 33,000 prisoners were sent on the so-called death marches. They had to march 20-40km a day without any food or water. Who was not able to walk anymore or tried to steal food or water was shot dead. Between April 23-29, 1945, more than 16,000 prisoners camped in Below Forest before they were freed by the Allies. The video refers to the horrors of the concentration camp (black) and the unknown future (white) as either being death or freedom. The video references the importance of the forest in German culture. In particular during the Third Reich the forest was equated with harmony and therefore is in stark contrast to the way the forest is presented in the video and probably was experienced by the prisoners.

What Remains of the Day – Memories of World War II: grapples with time and memory in contemporary Germany through images of places and people. I photograph a range of places that evoke the horrors of the Nazi regime by overexposing the photos so that only traces of the resulting images are recorded. Much like memory, the photographs are fragmented and ambiguous, and either in color or black and white. I overexpose the images of places for one second for every year since the war ended. For example, photos taken in 2016 (71 years after the end of WWII) were overexposed for 71 seconds. I explore people through portraits and interviews. I select a range of people who experienced the war: including (Holocaust) survivors, Nazi supporters, German bystanders, and Allied veterans. These interviews present personal perspectives on the war and the Hitler regime.arty, Allied soldiers.

 

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