Interactive photographs are not only sensitive to light, they are also sensitive to the beholder's scrutiny. As one caresses the picture's surface, the latter's content evolves, dissolves, or otherwise changes in response to the observer's attention. Landscopes is a series of works which explore both natural and inhabited landscapes. Each picture experiments with techniques and typologies that research the multiple forms of expression offered by interactive photography... more »

Representational Paradigms

The underriding problem facing computer artwork is the computer itself. The computer is a work tool, that complains of underemployment if it is not surfing the web or manipulating funds in some financial spreadsheet. It ill serves contemplative pictorial display, at loggerheads with urgent utility. Joetopia is trying to develop a display device which will reconcile the computer as support for artwork, inscribed within the symbolical tradition of pictorial representation... more »


The work unites seven series of photographs, taken (for the most part) in the very same town space where they were to be later exhibited. The work's visual transformation is keyed to the sound of passing traffic, as well as to hand clapping on the part of the viewer. Collido_scope is an installation which was made for the 1er Contact Festival, held in Issy-les-Moulineaux, outside Paris in 2002, comprising digital works made for exhibition in an exterior, urban environment... more »


The southern and northern slopes of the Pyrenees Mountains, which separate Spain and France, are totally different in terms of their natural and cultural geographies. Granite peaks to the north sit back to back to limestone canyons to the south. This ongoing work, the fruit of a cross-border residency organised by Espacio Infoculture, brings about an embrace between two landscapes which touch at their summits but never meet at their feet... more »

Dachau: the Prototype

Dachau, the first Nazi concentration camp, was established shortly after Hitler came to power, and served to conceptualise the methodology of terror that was to be used to annihilate the enemies of the Nazi state. The work is a contemplative exploration of the camp as memorial, in confrontation with the impossibility to resuscitate the millions of victims. The viewer interacts with scenes of the camp: the barracks, the prison bunker, the crematorium, guided by a tumultuous, dying heartbeat... more »