I don’t work with images; I work with perception.
Joerg Alexander
Generative
Study – Shaping Perception, Pulse Line
Every image is a remainder: fragment, intimation, afterimage. I work with what lingers. Surfaces keep depth. To see is to test a hypothesis, not to certify a truth. I trust the unsaid and the quiet interval where meaning arrives on its own.
What if seeing is already artificial?
Images as question. Vision as method.
Analog
Monika, Havana, May, 2014
Analog – Evidence, not effect.
Hand, light, time. Film holds air. Grain is not nostalgia, it is memory. Prints carry the weight of presence.
What does the hand remember that the sensor forgets?
Analog for you is proof, not polish. Materials matter. Silver, dye, paper. The look is earned, not simulated.
Residues : Between socialism and capitalism, between decay and glamour, colour turns insurgent.
Portraiture : Presence over performance. Faces without theatre.
Wanderlust : Movement as witness. Encountering the ordinary in the unfamiliar.
Motion : Short films. Simple setups, rhythm that carries meaning.
Hand, light, and time – evidence, not effect.
The view is never neutral. It’s always personal.
Journal
Work in plain sight
I write to steady the hand that photographs.
Writing keeps the work accountable. It is part of the rhythm of thinking and seeing. It slows the process down – sequences form, edits gain reasons.
Work thinking out loud. Small entries, clear intent.
Lab
Lab - Exercises in attention
School of Seeing. Perception is a practice. Seeing is a language.
Levels of Perception: from presence to awareness to transformation.
How do I see? Practice in the field.
Edition
Selected Work
Original prints from the current core pieces.
A photo is flat – a compression of sight. It holds light and time on a single skin. You read what is shown, and then something small won’t behave – a detail that snags the eye.
Prints and objects.