"Rudy’s interest in the image as a field of narcissistic and inexistent spaces or non-spaces, in
between reflections and [lost] partial objects was exemplified in his serial works made in England, that were equally concerned with the loss of any kind of visual representation of the image itself.

What the image presented as void or elusive/ Rudy questioned the success of works of art that figure as performing a social interpolation - which proposed an over-identification within the status quo - or the symbolic order of a community - where the loss/destruction of the image, or the memory is re-enacted in terms of a collective memory.

In his photographs absence and presence often exchanged places in a way that induced melancholia as a ‘preferred’ thinking about the impossibility of a space of exchange, however as an exemplary position in [post]modernist photography. These works are composed along viewpoints that hold their distance from direct contact, often veiled or suggesting something missing [as in Antonioni’s cinematic montage for example] or no longer available to sight, or just out of sight.

(...) Rudy questioned the success of works of art that figure as performing a social interpolation - which proposed an over-identification within the status quo - or the symbolic order of a community - where the loss/destruction of the image, or the memory is re-enacted in terms of a collective memory. A break of the trauma of forgetting performed in the use of simulacra [like opposing cinema to theatre and intentionally reframing the relations to the viewer position]. The photograph is staged in between these experiential and disembodied forms of engagement with a viewer or audience, once removed from an assumed role or identification.

Some of Alfredo Jarr’s projects come to mind with the kind of work Rudy might find important in the future in relation to how his interest in photographic installations is to be constructed, - his work is ‘politicised’ in the sense of dealing with 'projects' where there are indistinct representations / disappearances, or exclusions – presenting ideological silences by extreme reduction or concealment. Art and politics are in awkward relation.

The idea of voiding, [which initiates a political problem] of incorporating exclusions, or exceptions to the community, is also written in through Badiou's work on proposing an affirmative aesthetics. Rudy had studied some of these theories, suggesting material to help develop his own interpretation or to understand how to arrive at properly installed photographic works / texts in situ, in the ‘locus’ of a place, if the work itself is to be concerned the non-place or the amnesiac history, without documentation. Documentary photography and film poses the problem of fiction and imaginary within the assumption of ‘reality’."

Peter Lewis 2014