With my photowork I try to ward off my fear of death and its incomprehensibility by literally halting the process of decay and disappearance while simultaneously evoking the mysterious atmosphere of the transitional area between life and death. The direct inspiration for the creation of these works were the terminal desease and the inevitable death of my mother. By using pure photographic experiments with light and chemicals on photographic paper, in combination with modern digital technology, I activate an accelerated process of decay. I make sure to fixate the photograph on a critical moment, chosen by myself, in order to stop this decay. This process is a higly illusional, almost religious protection against the slow process of physical destruction. These manipulated portraits possess physicality and presence, but they are in danger of dissipation by way of the deconstructing experiments. I want to pose the notion that neither the physical nor the spiritual self are directly touchable. I believe that the slowly disappearing quality of the photographs is a reflection of the way the mind works, it struggles to hold on to memories that tend to fade away. It is not about timely decisions and aesthetic compositions but about abstractions in time and space. The chemical reactions on the photographs function as a metaphor for the passing of time. It is as if time is anchored inside them. Photography, while unsubstantial, is the perfect medium with which to create these fragile images with such dissipating character.