5. Did your schooling affect your creative development in any way?

I originally studied philosophy, back in the early 2000's in parallel with my photography studies.And my photographic work finds its roots inphilosophy, and more specifically in ontology,the study of the nature of being, and in phenomenology, the branch of philosophy thatstudies the structure of perception. The central concept at its heart is based on the philosophical idea that all reality around us is utterly chaotic and unstable. This vision of the world as an ever-changing place is not exactly new. Heraclitus of Ephesus already stated this very idea in the 5th century BC (with his concept of "Panta Rhei", which means "everything flows"), and it remains more actual than ever today. For better or worse, we live in a world that is evolving at a very rapid pace, and we can all feel it. A similar idea can be found in "The City of God", a book by Christian theologian and Neoplatonic philosopher Augustine of Hippo. For Augustine, as long as the world will exist, nothing will ever be settled. Everything can happen at any time, for better or worse, and the human existence is marked with the seal of a radical uncertainty, neither on the destiny of humankind nor on the fate of any specific human being.
However, despite its inherently chaotic nature, we human beings tend to perceive the reality around us as something more or less stable. We need a sense of structure and permanence if we want to remain sane. This is highly paradoxical. On one hand, reality presents itself as stable, but on the other hand, we can feel it as intrinsically unstable. I call this dichotomy the great ontological treachery.
My photography is a very personal attempt to make sense from this chaos. I try to restore a kind of balance by visually expressing the concepts of chaos, stress and instability, and to question our way of seeing the world as a stable place. By superimposing several exposures, I try to convey that "Panta Rhei" feeling that the world is an ever-changing place. I also try to explore our relationship to time, as the several pictures that compose my photographs are always made at different points in time, yet they are parts of the same final image.
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6. How much do you research your subjects before photographing them?

I don't. I’m much more relying on photographic serendipity, walking around until I find something that catches my eye. It might be light, shapes, people, everything, really… I then work the scene until I get something interesting. Sometimes I do, sometimes I don’t. I take great care of working out the composition of my pictures though. I tend to love some locations, and I get back there again and again, always trying to create something new from the same place. Sometimes, I come across a place and I think ‘wow', I could do something 'here’ but for one reason or another, nothing happens. Maybe the light is flat and boring, maybe no one comes in the frame… I then I return to that place until I finally could create the image that I first envisioned. I guess one can say I’m perpetually scouting potential locations, in a sense.
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7. What camera were you shooting with?

The little Panasonic Lumix GX80, with its incredibly small stock 12-32mm lens. I love this setup because of its extremely small form factor and understated looks. Yet it’s a really capable camera inside. It totally goes unnoticed, and it allows me to take photos in places where I could never shoot with a big DSLR. I also have quite a large collection of cheap lenses, some quite exotic (such as fisheye, adapted CCTV lenses, vintage soviet lenses and so on) but finally, 95% of the time I use my small stock lens. The small size and light weight are very important criteria for me, as I carry my gear with me all day long, every day.