After a visit to Foam Fotografiemuseum Amsterdam I was intrigued by the power of a frame to transform a photograph, define it as a 'thing worth contemplating', and harden the boundaries between the photographers vision and the rest of the world.
The main exhibit featured the works of American studio photographer Mike Disfarmer (1884-1959), who mostly photographed individuals or small groups on relatively plain backgrounds.
Shortly after that I wandered in front of this graffiti'ed window at Centraal and couldn't keep going. The unassuming uniformity of the window glass suggested Disfarmer's backgrounds. I asked my favorite local model to climb into the window for a moment. The window frame placed her into a miniature urban studio, full of calm - but yet surrounded by the 'chaos' of graffiti.
While developing this image, I found myself drawn to another frame - one around the borders of the image to create an artificial end to the graffiti'ed universe.
Now, you're viewing the image within a digital window, surrounded by another frame (your monitor). The levels of framing each define a different object worth admiring - and each frame corresponds to a different interpretation of the photograph.