| THE ACID YEARS |
The medium of photography and image making has accelerated immensely in the digital age. The artist, always looking for a way to slow down that very process.
Inventory, Destructive Creation and Absence all are based on this technique. By applying acid the artist is able to change, remove or add compositions to an image. Fluxing acid concentration, wash-time and method of application all change the image’s affect entirely.
| INVENTORY |
In this body of work, the artist subjects his own passport photographs to chemical corrosion, using acid as both medium and collaborator. The passport image—designed to standardize identity and render it legible to systems of control—is here destabilized, transformed into fragile and unpredictable objects.
This act of material disruption positions the work within a lineage of process-based and conceptual practices, where chance, decay, and transformation are integral to meaning. The photographs become unstable relics: neither document nor portrait, but residues of time and memory. As the acid erodes the surface, the image echoes the slow dissolution of recollection itself, where clarity gives way to blur, absence, and loss.
At its core, the project also challenges the illusion of a fixed self. By dissolving the ego’s official portrait, the artist exposes identity as mutable, fragile, and always in flux. The resulting works invite collectors and institutions to engage with portraiture not as permanence, but as an exploration of impermanence, memory, and the unstable boundaries of selfhood.
