Through this subtle manipulation, Goiris hopes to fire up the viewer’s imagination and suggest potential narratives. “The viewer, approaching the surface, is able to generate personal readings or stories,” he explains.
“Sometimes I see something when I’m travelling, and very often it resembles a film set or a rendering of a future that people once had. That’s interesting to me because it’s part a projection into the future and, of course, part a remnant of the past, which almost all photographs are labeled as.”
Key to luring the viewer into the fictional potential of the photograph is the detail afforded by his large format camera. “You can see the photograph was taken with a large format camera, all the details are there, you can kind of understand that it’s a record of a real situation and at the same time, I think there’s always a slight mystery in it because there’s always something missing, there’s a deficit of information,” he explains.
“We don’t know what came before, we don’t know what came after, and it’s this lack of information that creates an opening for a viewer, so that he/she can make their own story, for lack of a better word.”
