Comprising seven large-scale digital photographs printed on archival baryta paper, the Flicker series results from the interaction of two technologies, both designed with human vision in mind: the electronic “rolling shutter” of a smartphone camera and the pulse-width modulation (PWM) used for dimming and mixing the red, green, and blue light of an RGB LED strip. When these two technologies interact under the right conditions, the result is a failure of their intended functions. In this way photographic technology loses its original purpose and begins to speak about itself.

The dimensions of the works are adapted to the human viewer; it is through their size that they become equivalent to the viewer and create their own (separate) world, oscillating between openness and closedness. From a sufficient distance they create the illusion of depth and appear three-dimensional, but in closer proximity, the depth disappears and the pixelated structure of the images is revealed. All the works belong to the same world, but each is unique and does not need the others, which is also reflected in their titles. The works evoke both abstract modernist painting (and in fact many viewers do not initially believe that they are photographs) and the light installations of Dan Flavin.