Wim van Egmond (1966) started his career as a painter and photographer. In his early works he used photographic manipulations to create images that were abstract and self-reflective, not just depictions of 'reality'. A life-long interest in natural history combined with the fact that he grew up a few kilometres from Anthony van Leeuwenhoek's stomping ground may explain his choice of photomicrography.

One of his goals is to portray the microscopic world. In this type of work there is no need to deform reality in order to create abstract images. The credits go to the wonderful life-forms that inhabit this Museum of Invisible Life. The photographer is now just a curator who investigates the most unexpected places. There he scoops up the artworks with a pipette, transfers them onto a microscope slide, presses a button or two and patiently fills the museum. A collection that could easily fit on one fingernail.

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