They may look like double exposures, superimposed negatives, or digital images, but they are each made from a single exposure and a single negative. They come out of a way of looking, not just at the contents of the displays nor the play of reflections, but at a seamless integration of inside and outside, of object and reflection, in which the boundaries of real and unreal have disappeared. The photos are made up of mannequins, buildings, cars, streets, people, trees, clouds, and sky, but the whole exists nowhere in reality, except for an instant on the window pane, and then only on film. What I see in these pictures is my childhood, roaming the streets of New York, finding a city of pleasures, drama, and excitement, full of towering skyscrapers, trendy people, luxurious clothing, sensuous figures, brilliant colors, but also an underside of uncertainty, fear, and danger. Shadowy, unrecognizable figures steal by.
Femininity here is alluring but artificial, glamorous but commercial.
Glamour, beauty, trash, danger, vulnerability, something between an encounter and a nightmare, make these images of the new millennium.