When a solo show is not really a solo show. “Return to sender” could be considered as a ritual transition towards a period with new work.

Photographing vases full of flowers and boxes filled with analogue test prints, were briefly for Thomas his small living space. As homo ludens, he widened his circle, playing into life, using photography as a toy. He decided to send his test prints and leftovers by post. Return to sender.
Photos folded or torn, were stamped and sent back to his home address. Like a returning homing pigeon, an exercise in letting go and finding lightness again. Franked images left his apartment, from the mailbox to the mail sorting center, back to his own mailbox, marked home again.

In between, unknown postal personnel and postal machines left their marks on the photographs: scratches, stamps or a scribble with a ballpoint pen. But also censorship by overlaying naked parts. A single image got lost, a rather erotic work.
Discovering systems and rhythms. Certain days are stamped differently than others. Who are these people. And do these images give them a pause from the automatic stamping of white envelopes? Will these intimate images, bare breast or a flower interrupt the standardised rhythm and life in which they are released?

His circle expands and life enters into the subjects. From test prints of old lives to the hushed flowers and an emerging new love, with human intimacy bringing back lightness.