In Germany, children invest their first pocket money in sweets and belongings from one of the 800,000 gumball machines on house walls and garden fences. For ten to fifty cents they can get spooky bubble gum eyeballs with a fruity strawberry flavor, small toys packed in capsules, glittering jewelery or slippery monsters. These are an epitome of childhood memories.

As an adult, you're more likely to see the cheap, shabby locations where the machines hang - transit stations. French anthropologist Marc Augé coined the term "non-places" for monofunctional realms that lack their own history, relationship, and identity. It almost seems as if gumball machines are indicators of such non-places.

The “Disenchantment” series thrives on the contrast between the shots of the objects from the gumball machines and the shots of the “non-places” where they can be found. Conceptually, a topography of lost childhood unfolds. The childish treasures – shot in front of a black background – are shown in a highly stylized and pop-like exaggeration. The vending machines—highlighted by spot lighting—remain in their seedy “non-site” environment. The series circles the gap between the magic of childhood days and the disenchantment of reality.