I started to gain interest in the dutch welfare services. Currently, I am exploring in detail the fascination for the environment constructed around the control and administration of social securities. This thematic, associated with the marginal, enables me to relate to a number of artistic strategies. The crux of the matter is that most artistic projects do not wish to be associated with the control regime they are criticizing. Yet, any form of reproduction, representation and simulation, inherent in artistic practice contrasts with the invisible, uncontrollable nature of marginal places or groups; not willing to fit in any given framework. The same paradox of visibility occurs in the rise of centers for work and income in the Netherlands. These so called 'Werkpleinen' are the manifestation of a larger governmental project that integrates welfare and recruitment agencies provided with guidance to create opportunities in the job market. The design is largely derived from corporate business culture, for instance the attention paid to transparency and publicity to bring out the orientation towards the client or public. Nevertheless, the social security recipient, the pivot of this policy, submits to an intervening counseling, implicating a withdrawal from his active role (in society), which amounts to social invisibility. When I take photos I activate the environment by constructing it, however the moment that the shutter is released the apparatus takes over. Via this temporal withdrawal the critical status of the artist is brought into question. I employ my consciously chosen, yet insuperable vantage-point of an outsider, as an objective to set against, thus to challenge my artistic vocabulary and production.
