Perry transcended the notion of photography itself by starting from darkness instead of light. Darkness as an allegorical time-space that doesn’t merely reflect the ‘rite-de-passage’ – both his desire and fear of succumbing into darkness – but also oblivion, transience, infinitude and darkness as a phenomenon. And further more it’s an iconoclastic reaction, questioning meaning of imagery itself – as well the meaning of imagery within the ubiquitous flagrant visual bombardment of our digital world.
In recent years he works as a guest-workplace user at the Jan van Eyck Academie where he experiments with risography, taking advantage of the stencil print’s unruliness, sublimating its property by consistently making use of all misprints as the new negative of the final image. His images only find their meaning in the nature and quality of the physical appearance, and initially and apparently appear as abstract dark windows wherein whispering motifs vacillate between appearing or evading, to come forward or, on the contrary, to take a step back to disappear. In their melancholic doubt between visibility and almost invisibility – which can just as well be a self-assured sense of the unknowability of the self as an image – they put the viewer to test by mesmerizingly slowing down their gaze over and over again.