Akzidenz currently lives and works between Paris and New York where he is an art director for some of the most high-end luxury brands worldwide.

His academic path has brought him to center mainly on the studies of art and communication – this background has a rooted presence in his work, in that, he is less interested in the representational qualities of the photograph; focusing more on the exploration of the fringes of each terrain. This focus stems from the will to not use photography as a traditional means of representation of reality but creating a platform for discourse and thought. In order to achieve this dais, he invents his own visual language, using multi-exposures, superposition, juxtaposition and ‘sequentiality’ to interpret, rewrite, and therefore relate to the manufactured experiences that are being created on a daily basis by mass media.

In short his photography can be abridged into objects that create an intrinsic world of their own, or in his own words:
“My works aren’t pictures of something, but objects about something.”

Akzidenz purposefully chooses to use the 20th century medium of film allowing him to see, and therefore place the present into perspective. The choice of black & white and grain become the signifiers that depict and foster the equivalence of life and shape within his work. The single ‘effects’ of contemporary post-processing are not important to his work, to the point that he refuses to use such ‘effects’ – anything beyond the traditional workflow of the darkroom is prohibited.

1. You see with the most artists the passion to create something starts at a really young age, how did it express in your own childhood?

I have always attempted to break the repetitiousness of life through different means; I constantly experimented with my surroundings, pushing myself to find something that allows my mind to flee the per diem. Through photography I found the mode to escape the prison of the day to day; I am able to channel the desire to break and reassemble the grid into my works, which in turn has become a rebuttal towards my experiences both past and present. I can consciously look back and see how this search has always been a crucial part of my life and how it has guided me towards this medium of expression.

2. What do you do others don’t or can’t do, how do you set yourself apart
from the others?

It is not about what I do and what others can(may)not, but about the deliberate choices I take within my work. The only standards to which I can compare my work, and hence define, are my own. My works aren’t pictures of something, but objects about something. In overlaying images an alteration of reality is created, the image no longer is a direct representation of what the naked eye can see but transforms into a portrait of the uninvisible. The multitude of images becomes representative of the intrinsic layering of human emotion where there are no clear-cut lines but a fusion of phantasmagorias. It is the sequentiality within the structure that creates the image.

3. You can make a recipe of your work, what would be your secret ingredient(s)?

There is no secret; my works stem from an inner curiosity to push the boundaries of reality, the boundaries of the possible. My job forces me to use lines and patterns in a mathematical way – my photographs counter that, allowing me to get the lines and patterns out of my head.

4. Which song describes your work the best and why?

Time for Livin’ – Beastie Boys

5. Who or what is your most important inspiration you can rely on?

Although many artists from around the world and from all different genres have caught my eye over the years I find myself unable to recall specifics. I have been influenced and inspired by a plethora of people – artists and non. The first things that come to mind are the Russian constructivists and Darren Aronofsky. All of the papers, books, articles et al. have inspired me as much as known artists have, or as much a person met on the street has. In a form of influence and non-influence everything has had a direct or indirect effect on me, and therefore on my work. It is impossible to tie my inspiration down to a list, my life has been my inspiration and therefore will continue to change each day until the moment I become immune to my surroundings.

6. Imagine you can choose just one artwork to expose at the Modern Museum
of Art in New York, which one will it be and why?

If I had to choose one work it would be one that represent the layers of consciousness, the beauty in the undetermined, the uninvisible. The poetry of an image arises when the image itself is not self evident, when the ‘real’ is left to the imagination, and what can be seen is simply a taste of what really happened. The series of images where this concept is represented has become a method through which I explore the unknown by bringing the viewer to a state where he does not know what he is seeing, yet is left with an undying will to explore the abstract. My work signifies the magnificence in the anonymous shadows and shapes created by the human figure; it is not about what the naked eye can see, but the power of the undetermined. These works represent my person and body, they put onto paper the inner workings, making the audience a voyeur in my head; allowing the image to be completed only when it is viewed.

7. What are your daily essentials?

Essential is a hard word – something you cannot live without, an aspect that one searches for continuously. Essential is to breathe, it is to live, to make it through the day, live and not only survive. For me the essential is to create, to be stimulated, and to draw from my surroundings. Creation by definition is a personal fruition; it comes from the inner voice being bombarded by a constant influx of stimuli – it is the ever evolving autobiography of the artist that follows like a shadow, deforming and changing all the time but forever there. Hence, essential is to live and not be afraid of what the unknown will hold.

8. Finally, what do you desire in the near future and how do you
contribute to that with your work?

The future will always be there, granted, one can craft their idea of what it may hold but the unexpected will always be there. Although the desires and aspirations for the future are many they also change with time as the present morphs into the past. The undetermined is intriguing and I choose to explore it calmly, not letting time have the best; in this instance the act of capturing a split second acts as a precursor to the future and a recollection of the past, it blurs the parameters of time and allows for the living of the present. My work is intrinsically bound to time, space and its distortion, and therefore to my future – may it have a direct or indirect effect on it I cannot say but it will absolutely guide my path into the unforgiving unknown.

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