The Pandemic Games series arose from a simple, almost childlike impulse: discarded Covid-19 test kits were arranged into game forms – Jenga, dominoes, house of cards, Mikado, bricks. But the playful approach is only superficial. Behind the starkly contrasting black-and-white compositions lies a complex reflection on the pandemic – and on what came after it.
The test kits, once symbols of safety, control and uncertainty at the same time, become a metaphorical playing field for political and social dynamics. It is about playing with fear, playing with responsibility, playing with memory. Who made which move? Who fell? Who won? 
And: Were there any winners at all?
What began as quiet observation – a game during isolation – is now a critical look at the authority to interpret events after the crisis. The photographs appear clinical, almost sterile, yet they carry a silent accusation: not against specific decisions, but against the retrospective judgement in black and white.
For just as the light in these photographs allows for no nuances, public discourse often leaves no room for grey areas. Decisions are stylised in retrospect as if all those involved had had a complete overview of the entire playing field at the time. But anyone who has ever built a house of cards knows that stability is often only momentary. And the next move decides everything.
Pandemic Games invites us to take another look. Not with anger, not with nostalgia, but with an awareness of the fragility of decision-making, responsibility and memory. And of what we all – consciously or unconsciously – played a part in.