The idea of documentation is in some way a crucial point of departure for what I am trying to articulate, that is to say the tension between a documentary/objective status of a photographic picture in relation to the object depicted and the subjective take on the world through the eye/mind of the artist.

My feeling has always been that artists who deal with photography more on the periphery of their own practice are more apt to deal with that kind of tension and even instrumentalise it. Rather than approaching documentation straightforwardly, they often approach the idea of documentation through the mimicry of reportage (or referring to the mode of reportage) in order to build up a certain distance in how they relate to their own work. Such distance can be very helpful for coming up with new ideas, images, work etc... Furthermore, this distance doubles the gap that opens up between the seemingly transparent appearance of a photographic image or print and how this transparency serves, in turn, to conceal at the same time that to which it points or refers. By addressing this gap, the photograph can then emphasize the idea of something being taken for what it is not, or vice versa...