Backdroop (4), 2025

Print on Acrylic, 3d Printed Pla, Acrylic

20 x 25 x 3 cm

Unique

This series of works expands the idea of photography into the digital realm, using screenshots captured from video game landscapes collected over several years. These images explore what becomes possible when the camera, traditionally tied to the physical world, is liberated within simulated environments. The perspective is untethered — gliding through surfaces, clipping into textures, and accessing impossible spaces, revealing compositions that defy the laws of the physical world.

The animated worlds depicted often appear as one-sided theatre stages — flat backdrops carefully constructed for an ideal vantage point, but hollow and incomplete when viewed from the “wrong” angle. Objects within these worlds frequently do not react to natural forces like gravity, friction, or decay, reinforcing their artificiality. By moving beyond the designed pathways, the work follows the characters’ attempts to escape the edges of their animated environments, seeking to reveal what lies beyond these defined spaces and digital borders.

In this sense, digital space becomes not merely a backdrop, but an extension of the camera’s reach. The landscapes, flora, and fauna are supposed to serve as an immersive stage for player narratives, yet when dissected, expose the tension between simulation and nature.

Mounted between sheets of acrylic glass and encased in frames that reference the grid structures and gizmos of 3D modelling software, the photographs emphasize their origins in digital construction. Their screen-like surfaces underscore the hybrid nature of the images — hovering between photograph, object, and simulation.

Through this body of work, photography is reimagined not just as a tool for recording the visible, but as a way to navigate, dissect, and reveal the hidden architectures and illusions of virtual worlds.