Although I was born in 1981, I sometimes wonder if that is really so. I often feel like I was born a century ago. Most people are fine with all the fast developments. I’m curious about these people.
Beaches 2014 – present
When I’m walking on the beach, through the dunes and past the sea, my ‘nostalgia disorder’ is tamed for a moment. It could easily have been a century earlier, time has stranded. With speedy cameras, everything is captured with razor-sharpness, but there are no traces to be found of time being stranded. In short: a return to long exposures with self-made cameras.
Urbanites (2011 – present)
In big cities, I have the biggest chance of meeting that person; there he appears in groups. The “viewing pace” of the buildings and parks appeals to me. It lies low, for they see their architects, builders, and gardeners replaced by a continuous flow of people. It moves too quickly to distinguish individuals. By using a long exposure, I can also adopt that “viewing pace”. The real person has consequently become invisible; the flow of people moves too quickly for this.
Slow Portraits (2010 – present)
I keep trying to carefully turn back time, to see what preceded the new. The speed in photography alarms me. Now for a change, without a smile that only needed to last a fraction of a second to take a happy picture. Fifteen minutes of sitting stock-still is what I ask of my models, which creates a fifteen-minute average of the facial expression of the person portrayed. In this way, the real person becomes visible.
Ophef/Commotion (2010, graduation work, Minerva Art Academy, Fine Arts)
In the summer of 2009, my housing corporation informed me of a new apartment block that was to be built. Four addresses directly opposite me needed to make way for this new block. A city changes and develops, Groningen, too. I can understand that, but there is something I don’t understand. More than that, there is something that has bothered me for years: that ‘development’ must be at the expense of that which already exists. Not long afterwards, I decided that this would be my graduation subject: houses that have survived the war, but not the project developer in this quick, so-called dynamic era.
In the series displayed I make use of self-made cameras, no lens, merely a hole. The light subsequently falls onto colour negatives (with Urbanites and Ophef/Commotion) or self-made glass negatives (with Slow Portraits).