In 1990, after 150 years of analogue photography, Kodak unveiled the DCS 100, the first commercially available digital camera and commercial digital photography was born.

In my first series of works, the Net Prints (1997 - 2000), I responded directly to this pivotal moment in the history of photography.

The photos were shot both in a studio setting and in various outdoor locations. I set up a mesh screen in front of outdoor locations and in a studio installation consisting of neon-bulbs. In each of  the photos, the frame of the mesh crops the image and the camera is focused on the mesh, reproducing a pixilated image of reality onto a film negative.

Apart from mimicking the pixilation of the digitial image, I am also referring to the function of the grid in two ways: firstly, historically, with the reference to the modernist grid , as discussed for instance by Rosalind E.  Krauss in The Originality of the Avant-Garde and Other Modernist Myths, but also to the beginning of Renaissance perspective. Secondly, in the spatial sense; the grid places the object within a geometric order and flattens it, transferring it onto a single surface, thus rendering it abstract. Reversing the digital process into an analog one, I create an abstraction of an object.