When I document exhibitions, I attempt to illustrate the experience one has as a physical visitor with a body, walking through the space. Of course, this will always be at best be an approximation, but I nevertheless find this approach is more representative than the bulk of disembodied installation views one sees today. Those tend to highlight the individual qualities of the works or the space, but rarely provide an adequate sense of the spatial relationships between the works in the exhibition and therefore the exhibition as a whole.
As this walk-through is subtly different for every exhibition, I therefore document every exhibition like it's a new challenge to figure out how the relationships between the works can accurately be captured in photographs. In order to do this, I tend to make a number of photographs and figure out their order in the storyboard-like arrangements seen above. This arrangement usually makes it clear where there are gaps that need to be filled, or if the already taken photographs need to be adjusted in some way.
Although this has been a very natural way of working for me that has proven to be effective in conveying the exhibitions at a distance, it nevertheless is something I have never seen anybody else do. But perhaps it's possible that I simply am not privy to the working methods of other photographers.
