Ecker tries to find symbolic relevance in the most insignificant details, often left unnoticed. The intention to document and capture the world around him. Between formalism and the impenetrable aspect of facades and textures, with an approach based on the architectural density, reflected in his work, by adopting a contemporary approach, composition and visual language.
Contrary to classical documentary photography, his images refuse “drama” and are detached from their subject and the photographer's presence. The subject of urban sprawl generates transformed landscapes, used, exploited and left by their occupants, offering thus a “playground” in these transitory zones, the in-betweens.
Ecker navigates and translates between handicrafts and improvisation in the spectre of new technologies. Facing the de-valorisation of craftsmanship and work in general, through relocations of production and virtualisation, in an attempt to dethrone the myth of the digital, 3D printing and other contemporary technological vanities .
Ecker re-appropriates and synthesises the real and questions its authenticity, sometimes with an intentional cynic tint. What stays of the captured object after its multimedia transfer from the real-virtual-real?