When taking photographs, I like to choose angles and frames in which subjects seem to lose their usual function. The radiator in the gallery space becomes rhythm, rib, shadow and edge. Viewed from above, C-Mine in Genk becomes surface, boundary, scale and order. In the montage, two different realities collide. They do not form a shared space, but rather a new pictorial reality. The separation recedes into the background because the viewer recognises a shared order. It is precisely there that rupture and transition lie.