
The predicament we find ourselves in now, since the pandemic started, has undeniably changed our perceptions of time, work, space, and most importantly, of ourselves. This series of self-portraits I have made during the lockdown represent a joining of performance art and experimental photography. It is an exploration of both personal body and mind; as the classic perception of time and work warped around me.
The photos were made using a portable scanner, a lightsource (a simple lamp in my case), and a clear sheet of plexiglass. I have tried, using my body, to express all of the negativity I have felt during the lockdown, all of my fears and anxieties, some personal, some political. I have not given any particular photograph a name, I feel they best work when presented together, as sort of an ambiguous narrative.
I used the tuna can as the central symbol of the situation: it often reminded me of hoarders and end-of-the-world believers, who would stack up dozens of canned food in case of emergency. Canned food becomes a really valuable object in times of disaster, and a safe source of sustenance. I, however, decided to join the mass absurdity of the situation, and eat the can instead of the tuna, the packaging, instead of the content. This absurdity I am showing can very well mimic the response different governments, like my own, have laid regarding the outbreak.
This series was very much inspired by the Viennese actionism movement, and by my fascination with the dark, moody and ugly. I wanted to be more personal with this series, to try and explore my inner self, just as much as I try to explore the world around me, and the mechanisms on which it runs on. I wanted to deconstruct my sanity, my perception and my image.
Sanity is very precious in times like this, and it is important to keep ourselves healthy in both mind, and spirit.

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