Stylistically, the series draws on the subdued solitude found in Wilhelm Hammerhøj and Edward Hopper’s timeless paintings and Gregory Crewdson’s famous photographs.
Unlike these (male) artists, however, this series is created from a different perspective. Using myself like a sculptor modelling clay – as a transformative material – to humanise a wider societal comment, I break down the barrier between observer and observed. I am both the subject and the audience, which places me in a position where I am bodily simultaneously connected and disconnected from the narrative that unfolds in each of the images and across the images as a coherent series. By deliberately staging, disguising and transforming myself in every picture, I am negating the concept of the classical self-portrait. None of the images in CAGED is of me, and yet I am present in the manner in which I have imagined them, dressed them, lit them, composed them, photographed them and, of course, posed for them. I, therefore, put myself in the place of the women I portray, yet at the same time also observed these women from a distance.