A work in progress
When I was about seven or eight years old, I suddenly discovered myself – Jean Paul Sartre would say – as an object. Simply said, I realised that if I am here, I am not there.
I should have been at school, but I wasn’t. Having a flu I was at home. In bed I suppose. Perhaps I was thinking about school, the children in their benches and saw the empty seat, where I should have been sitting. I could see myself as an object – like others see me, when I am there and not here. Without knowing it, I came across my first existential trap.
Much later in life I learned that the first trap leads to others: the void, emptiness, nothingness, existential fear, the absurd reality.
And related with those traps are those that have to do with the phenomenon of surfaces, phenomena of spaces, the topography of forgetting, fading eternity and seemingly senseless parts of a total.
All these traps are coming together in the idea of slow photography. The photos do not reveal themselves immediately; they require attention before they speak.
Surreële, vervreemdende, ongemakkelijke dan wel grappige beelden geven uitdrukking aan het zinloze, nutteloze en verbazingwekkende in het dagelijks leven.
Ik sta stil bij alledaagse en ongewone dingen, die geen enkele zin hebben en leg ze vast. Ze krijgen een moment van belangrijkheid en zin. Voor wie er oog voor heeft, vertellen ze over zijn en niet zijn, over iets en niets, over mooi en lelijk, zin en onzin.
When I was about seven or eight years old, I suddenly discovered myself – Jean Paul Sartre would say – as an object. Simply said, I realised that if I am here, I am not there.
I should have been at school, but I wasn’t. Having a flu I was at home. In bed I suppose. Perhaps I was thinking about school, the children in their benches and saw the empty seat, where I should have been sitting. I could see myself as an object – like others see me, when I am there and not here. Without knowing it, I came across my first existential trap.
Much later in life I learned that the first trap leads to others: the void, emptiness, nothingness, existential fear, the absurd reality.
And related with those traps are those that have to do with the phenomenon of surfaces, phenomena of spaces, the topography of forgetting, fading eternity and seemingly senseless parts of a total.
All these traps are coming together in the idea of slow photography. The photos do not reveal themselves immediately; they require attention before they speak.
Surreële, vervreemdende, ongemakkelijke dan wel grappige beelden geven uitdrukking aan het zinloze, nutteloze en verbazingwekkende in het dagelijks leven.
Ik sta stil bij alledaagse en ongewone dingen, die geen enkele zin hebben en leg ze vast. Ze krijgen een moment van belangrijkheid en zin. Voor wie er oog voor heeft, vertellen ze over zijn en niet zijn, over iets en niets, over mooi en lelijk, zin en onzin.