Tiré du site Internet de Revolver: " ... 'Playing Borders' ist eine experimentelle Reise mit der Kamera durch eine verlassene Etage, in der spielend temporäre Installationen und Eingriffe im Raum errichtet worden sind. Das hinterlassene Material aus dem das Stockwerk einst gebaut war, habe ich wiederverwendet und ist die Basis einer neuen konstruierten subjektiven Wirklichkeit ... Während des Arbeitsprozesses habe ich Leute eingeladen, die mit den Installationen in den Räumen Kontakt hergestellt haben. Manchmal haben sie performanceartige Aktionen ausgeführt oder hinterließen einfach eine Spur ihrer Anwesenheit. Die Bilder entstehen meistens aus meiner andauernden intuitiven Reaktion auf das Geschehene während des Arbeitsprozesses. Dadurch, dass schnell und dynamisch gebaut und abgebaut wird, bilden sich ständig neue Situationen. In meiner Bilderzählung versuche ich die Grenzen zwischen Fotografie, Installationskunst und Performance zu überqueren. Die Bilder zeigen vor allem die unbedeutenden Zwischenmomente, die Fragen über ihre Bedeutung auslösen."
Tiré du site Internet de Revolver: "The scenery of my fictitious photographic image-essay Playing borders is an office building from the eighties in Rotterdam. One floor of the building was my studio during the first three months of 2008. The floor consists of cold dreary voids, wherein decay and destruction are clearly visible. All traces of human activity have perished from the floor and there is nothing left but an atmosphere of desolation. This atmosphere embodies the 'state of mind' of Western man in my opinion, as I describe it in my prologue. Playing Borders is an experimental journey with the camera through the abandoned floor, wherein many temporary installations and interferences have playfully been constructed. The materials that have been left behind, which where once the firmaments of the same floor, were reused by me, and they form the base of a newly construed subjective reality. Useless junk gets a meaningful importance again. During the process I invited people, who got into contact with the installations in the rooms. They executed performance like actions at times, or simply left a trail of their presence. The images mainly exist through my constant intuitive reaction to all that happens during the process. There are swift and dynamic constructions and destructions and through this new situations arise. In my story of images, I constantly play with the borders between photography, installation art and performance. The images mainly come into being via constant intuitive reaction. The eventual images are mostly the insignificant intermediate moments, stacking layer upon layer and calling questions considering their meaning into being.