“I stretch the dividing line between reality and fantasy: How much friction fits in an image before the viewer becomes aware of it? Your own eyes solve my photos. “

His work caught on after the Rietveld Academy. He received assignments for international advertising agencies and magazines, made covers for Newsweek and The New York Times, did shoots from helicopters over Africa and stood on skyscrapers in America.

“Registering the photographic reality doesn’t grab me, I love compelling great stories ”

The reality, Julius doesn’t have much to do with it. He wants to tell stories and likes to polish up reality a bit. His work often consists of manipulated situations: merged images, montages and films that can be seen on overwhelmingly large, meter-high and wide canvases or prints. “I tell little fairy tales with my work.” He likes big and impossible. No better motivation than someone who claims that something is not possible. There are no restrictions. Recurring elements in the work: masks, turns, reflections, contrasts: black-and-white, oldyoung, front becomes rear and bottom comes up. The classic frame is broken and enriched, by also showing the back of a photo, or photographing a production upside down. Reality is unmasked, or on the contrary gets a mask. The two-dimensionality is broken by playing with the question of what is shown outside the square frame. His work breaks the standard and dismantles the surface, tells about another world. Viewers are like a ballet dancer who has turned too many pirouettes: the image is discolored, perverted, appears to be incorrect, but at the same time looks fabulous. That is the essence of the work: wonder. The pleasure with which a story is told, playing impossibilities.