Inside the darkness of the camera obscura the physical world is a mere memory. To create my image carrier I do systematic research of clay bodies, glazes, structures and their interaction, thereby building a library of reliably reproducible possibilities. Often an encounter in my material research reminds me of a real world object or situation. This object is then brought in front of the lens of the camera obscura, where the Photographic Hammer engraves it’s projection into clay. The resulting relief is not just a photographic representation, but embodies the memory of the physicality of the object.