Erwin Olaf's Photography Paradise portraits. Provided to China Daily

The first decade of the 21st century is one where change is the only sure thing. Dutch photographer Erwin Olaf has captured the decade filtered through his own eyes, and his best works are on display to celebrate Art Statement's move to a lofty space in Aberdeen. His work also graced the gallery's inaugural exhibition in 2004.

"Hong Kong is a very dynamic place with international allure," says Olaf, explaining why it's an ideal city for a retrospective of his 2000 to 2010 works. "It's a place that really speaks to me and gives me inspiration. It's very special to me that Art Statements and I have had a connection for the past 10 years. For me as an artist, it is very interesting to see all the changes and to grow in this turbulent world."

Olaf first burst upon the art scene by snagging first prize at the Young European Photographer competition with his series Chessmen in 1988. He followed with an exhibition in Cologne's Ludwig Museum later that year.

He deliberately mixes photojournalism with meticulously crafted studio photography, concentrating on social exclusion under the veneer of a beautiful appearance. Disturbingly provocative, his images explore class, race, sex, customs and habits.

"My work has changed a lot between 2000 and today," he says. "As I grew older, I became more interested in smaller emotions and stillness. Before, I was more rebellious and sometimes aggressive in my work. But nowadays, I like to highlight the sadder parts of life. I think that an artist should show his emotions, or at least they should be visible in his work. And these are the emotions that I am interested in right now.

"I am most fascinated by the relationship between people and how we can read the current state of mind of someone. With my 2007 series Grief, I tried to capture the choreography of sadness. How does someone stand, sit or look when they have just received sad news.

"With my 2001-02 series Paradise, I tried to capture the sinister laugh in all its different forms. With 2004's Rain and 2005's Hope, it was the silent moment between action and reaction that I was interested in. My latest series Keyhole is about shame. What does shame look like, which muscles do we tense, how do we tilt our heads, position our arms and legs? This is what fascinates me more and more."

Surprisingly in the wake of the now ubiquitous camera and iPhone, Olaf only takes photos while working. "I never take my camera with me on travels," he says. "I am a studio photographer. Bringing a camera along would make me feel unhappy and restless."

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