I went looking for concrete landscapes on the outskirts of the city and captured them in order to burn and deform the fotofilm. Bubbles burned into negatives, which, once exposed, like white noise move over the concrete deserts. They thus become in a certain way “deformed” into something new, the destruction of the motif serves to make it appear in a new light. The burned negatives were exposed, scanned, printed and then potched onto concrete (potch refers to a transfer tactic in which a photograph can be transferred to any material). A partly dystopian, but also organic-looking narrative appears, which deals with the rough charm of this materiality.
