My work centres on the status and impact of media images and the ways in which they enter and determine our collective memory. How images can construct an imago or how they sustain or shape our narratives and worldviews, especially documentary images with a claim to truth. I hope my work makes people wonder about what they see, how they see it and how we are usually conditioned to see only one perspective. My photographic works are fantasies based on facts- but facts made up of complex relations. By doing so I try to analyse the different visual strategies and styles of image-making that frame a subject.
In more recent works, the work itself tries to frame it’s subject in a more subjective way, playing with it’s history and present mediatised status quo.
Fonds National d’Art Contemporain, Paris
Dutch Ministry of the Interior and Kingdom Relations
Dutch Ministry of Education, Culture & Science
Royal Dutch Embassy in South Africa, Pretoria
Dutch Ministry of Foreign Affairs
Stedelijk Museum Amsterdam
Egbert & Loes Dommering Collectie
Collectie Piet & Ida Sanders
Prentenkabinet University Leiden
Collectie Reyn van der Lugt
Paleis van Justitie Arnhem
De Nederlandse Bank
ABNAmro Bank Art Collection
Artpress # 438, Between Art and Politics, Jong Chul Choi
NRC Handelsblad, 14 feb, Lucette ter Borg
H Art Magazine, Jorre Both
NRC Handelsblad, 13 juni, Tracy Metz
Avro Kunstuur, 4Art: Hedendaagse kunst, 22 juni, Bart Rutten
Parool, 20 juni, text Kees Keijer
Foam Magazine, portfolio, tekst Ilse van Rijn
‘Afterwards. ‘Contemporary Photography Confronting the Past’, edited by Nathalie Herschdorfer, published by Thames & Hudson
‘Photography!’, a Special Collection at Leiden University
‘Images Recalled’, text by Christiane Kuhlmann, Kehrer Verlag
Fotografie in het Stedelijk - De Geschiedenis v.e. Collectie, Hripsimé Visser, Rik Suermondt, Nai Publishers
‘Photo Art’, Fotografie im 21.Jahrhundert, Uta Grosenick & Thomas Seelig, Dumont Verlag
‘Eigenlijk Eigentijds’, Art Collection Dutch National Bank
‘The Lost Moment’, by BikvanderPol & Fatosh Uztek
‘Dutch Eyes’, A Critical History of Photography in the Netherlands., Flip Bool, Mattie Boom, Frits Gierstberg
‘Turkye’, De Gids#12, text Lex ter Braak
‘So Close/So Far Away’, H+F Collection, tekst Hilde Teerlinck
L’Ecole du Nord/Netherlands Now, Editions du Regard, Willem van Zoetendaal / Maison Européenne de Photographie, Paris
Reflect#4, Documentaire Nu!, Nai Publishers
In sight, Contemporary Dutch Photography from the Collection of the Stedelijk Museum, Amsterdam
Oponthoud/Delay, Nai Publishers
Les Cahiers du Fonds National Art Contemporain #1, tekst Catherine Francblin
Life in a Glass House, Stedelijk Museum Amsterdam, tekst Renske Janssen
Kunst in de Hoftoren, Ministerie OCW & Atelier Rijksgebouwendienst
Reality Machines, Mirroring the Real in Contemporary Dutch Architecture, Photography and Design, Nai Publishers
‘A Complex Newspaper’, design Thomas Buxó, text Patrice Joly, Christel Vesters, published by Artimo
Vrij Nederland, ‘Een zigeunermeisje ontroerd niet’, text Kees Schaepman
Commission member at the Mondriaan Foundation, Amsterdam
Tutor at AKV St.Joost Masters, Documentary Strategies, Breda
Artez Arnhem, extern gecommiteerde eindexam., Fine art Dept.
Workshop at Parsons/ The New School, NYC
Workshop at African Artist’ Foundation, Lagos, Nigeria
Lecture at Market Photo Workshop, Johannesburg, South Africa
Netherlands Film Fund
Dutch Cultural Media Fund
Stichting Dommering Fonds
Stichting Sem Presser Archief
Fonds BKVB grants
goland. I got so close in 1992. Yes, this is an old story but I never told before and it has a link to the present.
The distance was less than ten sea miles. I was on board a fishing trawler with a crew from the former island of Urk. We sailed over the North Sea and the wind was building up. Wind force 7 to 8 Beaufort, high waves for 72hrs. The captain was praying out loud for the crew at every dinner and supper time in the galley. During the second night in the gale he spoke of finding a safe harbour at the island of Helgoland. I had never heard of it. While manoeuvring the trawler over the dark seas, the captain told me in his strong Urker dialect all about it.
The island Helgoland is an about sixty meters high, red rock in the middle of the German Bight. It used to be an U-Boot naval base. Ideal for movies scenery. Today it is alive with people and birds, many birds.
Meanwhile on the fishing vessel, the raging storm wasn’t raging enough to make the captain decide to seek a safer place. He had to catch as much fish as he could with his ship and crew.
Helgoland has been on my mental horizon since then. Now I will sail there, alone, on a small sailing boat, straight through the sea passage between Den Helder and the Texel’s Mokbaai. They say that if you can sail the German Bight, you can sail anywhere in the world.
The small village Pereque on the coast of Brasil, near Santos. A small river full of life flows along the beach into the sea. Sweet water meets the salt.
Estuary zones have always been my place to be. The smooth tidal rithm. In Pereque it’s the smell of rotten algea and fish. Thousands of bright red sandcrabs take a good look at me. They disappear together all at once when I jump with my feet on the sand.
The reality is that many of the fisherman living in this paradise are having a hard time while trying to survive. At night in the bar they wonder out loud: what would happen if they would make the shift towards piracy?