Untamed / 2020

The project Untamed (working title) aims to portray a creative inner spark of children, in a natural state of being, whilst playing outdoors in the yard, a field, around school, an attic at home or any other domesticated vs free zone.

This project shows a fine blend between a new/old photography style, which is rooted in fine art and my (former career in news media) documentary photography.

This first picture has been made of my daughter, while I had fever. Our house was a bit of a mess but me and Daleila got in tune with art and our heart, together. I asked her to open up for our artistic spirit in life: my photography and her talent in storytelling. I’m tuned in, to capture the essential nature of children, in a sincere and meaningful way. In sync with ‘another’ world, out of parental control and 9-5 stress.

This project could highlight similarities and differences between children in mixed neighborhoods in several countries, let’s start in Amsterdam (my hood) in the Netherlands. And see if we can travel to Tanzania, when the time is right to meet extended family members and connect to communities there.

Potential Landscapes / 2018 – started

‘We must confess that we are the possible…
We are the miraculous, the true wonders of this world
Free to choose our ends, and our new beginnings
That is when, and only when…
We come to it’
– Maya Angelou (poem ‘A Brave And Startling Truth’)

Terwijl stedelijke ontwikkeling wereldwijd rap toeneemt, creeer ik een illusie van ruimtelijkheid en wildernis, in Amsterdam en Nederland. Ik laat me vrij inspireren door organische structuren, natuurlijke orde en de integrale danwel verbroken samenhang tussen mens en ecosysteem. 
In Nederland zoek ik bijzondere regio’s en landschappen op, waarmee mensen op een ‘tegenstrijdige’ manier verbonden zijn: recreatief, omheind, verscholen, alternatief bebouwd, gekoesterd als wildernis of in ontwikkeling.

Op IJburg, waar ik woon en wat het hart van het project vormt, focus ik me op de randgebieden van het nieuwe Strandeiland. De natuur rond en in het IJmeer leg ik vast, net als het eiland met bouwmaterialen dat door Boskalis opgespoten wordt. Ik richt me hierbij op de ecologische verbinding tussen de voormalige Zuiderzee en Noordzee; inclusief duin- en moerasgebieden, waarbij ik bestaande ‘kadastrale’ grenzen overschrijd.

Grenzen vervagen tijdens het bewerken van negatieven met stiften en ruwe materialen. Ik ontdek (dieper aanwezige) natuurkrachten, door me op een  synergie tussen kosmische (energie) wetten, verbeeldingskracht (neuronen) en de alledaagse realiteit (het landschap) te focussen.

Door gelaagd vanuit mijn menselijke onderbewustzijn te fotograferen en te tekenen, stem ik me (zintuigelijk) af op zowel bestaande als onzichtbare dimensies van de natuur, zoals een ondergronds schimmelnetwerk bij boomwortels…. Wat van invloed is op de wijze waarop ik bijvoorbeeld hout als energiebron ervaar; als onderdeel van een biodivers holistisch systeem, waar ik de lucht van inadem en zaadjes in plant. 

Dit project is een ode aan oorspronkelijke vs maakbare natuur in de mens zelf. Invloeden vanuit de lucht, atmosfeer en seizoenen, tracht ik fantasievol te verbeelden. 
De natuur is miljoenen jaren geevolueerd.  Zijn we het diep van binnen, tot onze oerinstincten aan toe, of slechts aan de oppervlakte met sociale manieren en geconditioneerde gedragscodes, vergeten?

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Project in progress in Amsterdam IJburg (artificial city island) and further in (the coastal region of) the Netherlands. Consisting of drawings with ink and experiments with organic materials on analogue medium format photography of (un)tamed landscapes. I’m focusing on a  synergy between human (sub)consciousness and (controlled) nature, despite of the gap between modern civilization and the ecosystem. Because people are part of the cosmos and therefor we can explore sustainability by connecting to ourselves/nature.

Read more: http://mathildejansenstories.com/potential-landscapes/
Review: www.lensculture.com/submission-reviews/70974

Earthed / 2018 – prepared for take off

The ecovillage Aardehuis (Olst, NL) consists of several Earthships and uses sustainable (energy) resources. These startup images are meant to give an impression whilst preparing further steps. Check the publication of my image Earthship by Focus Magazine. The project Earthed is planned to continue after financial goals have been met. It’s a so called independent and slow project. In many African countries people continue building their home brick by brick after they’ve earned the money. Can you be patient, as if dealing with Africa Time…?
Check this page for updates in 2019. Please do not rush ;-) You might miss out on the magnificent beauty that an Earthly village has to offer.
Feel free to contact me for questions about this project. And to learn more about available prints for your home or office, to support this project. Or give it a boost by connecting me with your editorial/artistic network.

Strictly © Mathilde Evaline Jansen


Momentum (Layers of Love)
/ 2018



Layers of Love no. 1-5 
Based on drawings in (20 years) expired medium format negative films
which I’ve used to photograph in the dunes of the Kennemerduinen. 

NL | Fotoproject Momentum is gemaakt in de Kennemerduinen. Hiervoor heb ik ruim 20 jr. oude middenformaat negatieven benut, die ik kreeg van een creativeve man/fotograaf met een hoge dwarslaesie. Na een ongeluk is hij niet meer in staat analoog te fotograferen. Als fotografe (en zzp-verzorger) liet ik me door ‘beperkingen’ inspireren; kansen zijn er altijd en overal. Door verhalen te delen, kleine stappen te waarderen en je hart te volgen.

Oud en nieuw
In feite werkte ik met ‘afval’, dat persoonlijke waarde had. De negatieven waren 2 decennia over datum! Hoe zouden foto’s eruit gaan zien? Na ontwikkeling bij het lab, tekende ik met speciale stiften op de negatieven waarmee ik de duinen had gefotografeerd. De handmatig bewerkte negatieven zijn ook digitaal gescand.
Momentum belichaamt het begin van een periode, waarin ik analoge fotografie bewuster, vaker en nog altijd intuitief benut.

In dit project komen ook levensverhalen van 2 geliefden samen. Het werk drukt menselijke verlangens uit naar de (innerlijke) ‘wilde’ natuur. Met thema’s als soevereiniteit, geborgen contact en vrijheid.

Het verlangen naar natuur buiten, kan gereflecteerd worden op de innerlijke leefwereld. Verlangens worden duidelijk gespiegeld in een relatie; deze leggen innerlijke plekken, ervaringen en sensaties van bijv geluk, kwetsbaarheid en een proces van groei bloot. Dit (geestelijke) proces ligt in het verlengde van de mens als onderdeel van een evolutie. In de drukte van alledag geeft een landschap mensen ademruimte voor de binnenwereld, om zich ook oprecht en diep met een ander te verbinden.
In Momentum spelen zowel toeval als een bewuste werkwijze een rol. Iedere getekende lijn op een negatief, lijkt onomkeerbaar…

Lees meer


Domestic Goddess / 2018 – 2019 (Amsterdam)

Images: Communication, Embrace, Connectivity,
Sink (Source), Mindful, Ego-management.

In this series I’m re-shaping my conditioned mind as a (single) working mum, within the domain of my home as a studio. I’m rooting in my power with Universal forces as a source of inspiration. Yet this isn’t just about female intuition or breaking free from old patterns in my personal life…

My role as an artist is mixing up with my household and that of a mother and woman, regularly. Am I seeing through the fabric of a curtain, or just being behind it? Cleaning, dancing, resting and organizing at home feels as natural to me, as a walk in the forest. It connects me to my heart, body and mind, where no intention, dust, touch, move nor smell is hidden. I share this emotional space with people surrounding me.

In the Netherlands gender equality plays an important role. By exploring my natural essence, I’m letting go of outdated patriarchal structures in which a woman’s empathic and sensual nature, or people of other cultures, have been controlled or exploited (for the benefits of a system). And whereby multiple gender identities have been ignored or excluded. We are all related, especially in a metropole.

In the history of the Netherlands, an instinctive connection to mother nature and the Self has been repressed by the conservative institutional Church for centuries, whilst expanding economical activities of the State overseas. A desire for authenticity, sensuality and personal expression has often been projected on (exotic) women (and young boys), without mutual connection.
This project reflects on decent manners and the impact of fear in the reptilian brain, on the prefrontal cortex. Understanding the power of the reptilian brain, could enable people to set ‘transparent’ goals, ‘honest’ plans and ‘equal’ priorities from other parts in the brain with trust. A ‘decent’ attitude can be used to mask or compensate a lack of true or harmonious connection.

Natural forces are being discovered at home, to affect social and economical domains as well. It’s a subtle and playfully provoking process. Poet and Jungian psychoanalytic Clarissa Pinkola Estés describes myths and stories in ‘Women who run with the wolves/De Ontembare Vrouw’. This book has motivated me to learn more about Jung.

As an entrepreneur I feel empowered by caring and multitasking. Things are growing and shifting continuously, organic and linear. My family moves like a ship in an ocean. I try to portray the dynamic between life, myself and our stuff. Am I off or on? Could my home be used as a studio for artistic purposes or am I just losing my mind?
Domestic Goddess plays with various interpretations of ‘the female archetype’ vocabulary. For people from western/market oriented countries this title might refer to a fantasy world or socially submissive status, defining the role of a woman or tasks in a household in a more less static way. Whereas in different cultures or beliefs a ‘family’ Spirit can be associated with integrity and emotional strength. Nevertheless, this series isn’t about left or right, but about deepening a Subconscious in yourself and act from that source within your community too.

I’m trying to embody an invisible evolving space through images, to set new connections between old/new, magic/the real, digital age/ancient wisdom and vulnerability/courage. To step into my ‘goddess’ and explore new unknown dimensions. By the end of the series I might have awakened… And a man might devote his heart, to help setting my and his inner spirit free. To expand a mutual vision and understanding. In Art we trust.

Fall / 2015 – 2017 (United we Fall/Fly)

This project revolves around a series of portraits and photographs that seeks to locate what could be described as a physical creativity within gravity. Using temporary constructions, built in-situ in various locations, the portraits investigate individual relationships to space, and collectively seek to find unexpected or new connections between people based how they experience space in a room or garden – through movement, dialogue or even through silence. In this way mental connections becomes decompressed and emphasis moves to the physical and its potential to open up a heterotopia (in Foucault’s sense) – a space than can operate outside of our everyday hegemonies.
More information: see ‘news’

This project is dedicated to Daleila

Nederlandse Mijnen (concept) / 2016

Nederlandse Mijnen brengt oud mijnwerkers (en familieleden) in beeld. Het project benadert het thema transitie in psychologische en economische zin. De rol van (oud) arbeiders wordt innovatief benaderd op sociale en economische locaties, zoals hedendaagse bedrijven die boven oude mijnen gebouwd zijn. In het geval van voldoende fondsen, zal journalist/beeldend kunstenares Stephanie Jansen interviews afnemen, geinspireerd door sociaal historische en wetenschappelijke informatie (via haar familie in Limburg en hun rol in een archief). Het IJzeren Gordijn zou het ontwerp van een boek op zich nemen. Schrijver en acteur Maarten Brorens (zie foto) is als expert betrokken (evt. voorwoord). De foto van hem betreft een eerste projectfoto met persoonsgebonden attributen.
Vooralsnog begon ik zelfstandig met dit project en trad ik tegelijkertijd in gesprek met partners en sponsoren. Ondanks het belang van autonomie staat ‘samen ondernemen’ hoog op de agenda, om de kracht van Parkstad aan Nederland te tonen op een wijze die gelaagd en treffend is. Het verleden wordt op artistieke wijze samen gesmolten met het heden. Zo kan de huidige generatie vernieuwende inzichten opdoen over de bouwstenen van de Nederlandse samenleving na WOII, een periode waar veel over gezwegen is en waarbij emoties geregeld nog oplaaien in Limburg. De steenkoolmijnen waren grotendeels in handen van de Nederlandse staat en de levens van arbeiders vertonen enkele paralellen met de levens van arbeidsmigranten in de jaren ’70. Veel oud mijnwerkers hebben na fysieke arbeid, werkeloosheid en (verloren) eer een vorm van diepere acceptatie kunnen vinden, ondanks gezondheidsproblemen, op een wijze die voor de kijker verrassend en ook integer verbeeld kan zijn. En waarbij grenzen subtiel worden verlegd.
Het projectvoorstel is afgewezen door het AFK en Mondriaan Fonds. 
Zie voorbereidend onderzoeks beeldmateriaal van de regio Heerlen ten tijde van de opstartfase van het project in 2015, met dank aan vele enthousiaste partijen in Limburg, dankjulliewel, jullie zijn schatten! www.facebook.com/media

Untitled (Dairy) / 2015

This project collects pieces of the past and present. Becoming a single mum has been the most unexpected great event of my life so far. It uses (absent) family life as an inspiration to reconstruct personal landscapes. Most images are too personal to show here.
Within these personal landscapes I’m searching for a new consciousness in playful and provocative ways. The cut-out collages address people’s need for psychological unity and interaction within (im)possible circumstances. The artistic ‘family album’ consists of attempts to find inner guidance after/within a life off the beaten track. Untitled was initiated as a personal art project to find meaning and focus and let go of traditional (intercultural) myths.

 

Walking into traces of the future / 2014

In winter 2014 I undertook several walks in The Netherlands. To document traces of survival or creation. Some traces of the potential future got lost or damaged on the way, maybe eaten by an animal or taken by a river stream. Others are found perfectly intact.
What’s (un)written in the landscape around and within us? I’d like to find tangible proofs of survival, acceptance or genetic (r)evolution.


Things (as they are)
/ 2013 – 2014

Each photograph explores a modern ritual about the interaction of manmade worlds and natural worlds. Who is affecting who? How do people (re) use toys, garbage or plastic stars in a natural context?
What is the effect of emotional consciousness on the perception of intrinsic powers of the Earth? We’re all made of stardust. Do plastic objects relate in a same way to oil and minerals? Is there a similar mental distance which influences the psyche of mankind? This series explores the emotional (personal and universal) value of natural objects.

Ina maisha alisi Mtwara 2012 (research on site)
“In our community life, natural life shines through”

The project reflects on the power of nature in developing and maintaining communities. In the region of Mtwara (Tanzania) this has particular significance, because the regional/international economy is driven by the mining of and trade in natural resources. Due to newly found resources such as oil and gas, infrastructure is being quickly developed, which both stimulates and obfuscates the local economic and social order.

Local inhabitants are searching for a new balance in life and work. Relying on what nature has to offer, has made for a strong sense of community, for many generations already. But traditional lifestyles are now being challenged by the global trade and its need for a new economical and social order – sometimes colliding with local interests and customs.

This series shows portraits of inhabitants of Mtwara region, and Simbati village. During a collaborative and artistic research trip on site, my colleague I.P.A. interviewed the people we met. I portrayed inhabitants and laborers, sometimes with artificial flowers which I got as a gift from the university of Mtwara during a graduation event. The flowers represent pride and celebration. I’ve used them in my images as a gesture of respect towards local customs.To portray the people of Simbati with flowers also carries a particular significance: the people are emotional about a newly-built gas plant and they feel their interests are sometimes being ignored.  I’ve tried to visualize new dialogues or connections, suitable for a more international audience. And to draw attention to the special character and significance of metals, in surprising and even feminine or sensitive ways.
I’ve done this work as an allusion to my western and Dutch lifestyle as a consumer of mass products and artificial/plastic/industrial nature. At the same time, it was my intention to openly connect with the stories of the people we met, to create special ‘sweet’ moments.

The Wonder Welders workshop in Dar es Salaam, which features in several of the images, offers working opportunities for Tanzanian people with disabilities, as part of an ethical trade project for talented workpeople. It provides the possibility for the laborers to earn an honest wage and start a new life and career, away from begging in the streets and busy intersections in the cities.
The portraits made in Tanzania are connected by a focus on local metal trade, manufacturing and recycling. And of course, the people, community and social life. To show resilience and dignity. Because in the end, people are proud on what Tanzania has to offer to the rest of the world, in natural and economical terms.

Ina maisha alisi

De mens transformeert grondstof tot nieuwe gebruiksvoorwerpen, en gebruiksvoorwerpen weer tot grondstof, metalen (en olie en gas). In Tanzania (Mtwara) is dit proces direct zichtbaar, in het land, op straat. De weerslag van dit werk ligt in de gezichten van de mensen beschreven. Trots, kracht, vermoeidheid, genoegen, of alles ineen. Het is bijna iconografisch, maar deze mensen zijn geen ideaalbeelden. Het is gewoon werk. Alhoewel; gewoon?

‘In ons culturele (economische en sociale) gemeenschapsleven, schijnt het natuurlijke leven door’

Hoe kan de bevolking meeprofiteren van mijnbouw, olie- en gaswinning?.. In 2012 bezocht ik Mtwara. Een opkomende regio met een rijke biodiversiteit en mengeling van lokale tradities en moderne infrastructuur, zoals de exporthaven. (Inter)nationale bedrijven winnen en verhandelen er mineralen, olie en gas. Hoe (her)gebruiken Tanzanianen natuurlijke materialen en metalen voor consumptie of productie?
De rode draad in mijn foto’s vormt (de weg naar) Simbati town. De weg leidt naar een nieuw gaswinning project. Men wil dat er aandacht is voor lokale gebruiken en de wijze waarop generaties al eeuwen met de natuur leven; dat moderne ontwikkelingen pas plaats vinden nadat dit door autoriteiten erkend wordt.
In Tanzania doorkruisen meerdere discussies over mineralen (goud, tanzaniet, ijzer), gas- en oliewinning elkaar, in de media. Simbati vormt in dit project een poëtische verzamelplaats voor lokale verhalen over handel, gemeenschapsleven en lokaal gebruik van metalen. Men gaat langs ‘Simbati road’ het dorp in, ontmoet de bevolking en diverse werkplaatsen. In Simbati en de steden Mtwara en Dar es Salaam heb ik gefotografeerd, in interactie met mensen op locatie.
De gekregen bloemenslinger benutte ik als een symbool van massaproductie en een kunstmatige relatie met natuur. Als ook een middel tot innerlijke verbinding; tussen mij als fotograaf en de bewoners van onder meer Simbati.’

Read more: http://mathildejansenstories.com/ina-maisha-alisi/

Video: Performance by Isack Peter Abeneko

Exoticorum Imaginis Decem (Ten Images of Exotic Life Forms) /  2012

The photography project shows parallel worlds of new and modern forms of nature. To visualize palpable – existing and imaginary – connections between (exotic) natural resources and daily used consumer products made from it. Products are integrated in local natural environments, referring to historical use of natural materials and (rural) areas where people depend less on global trade. I wanted to research my consciousness of nature, influenced by the way it surrounds me in the Netherlands, and related to awareness of (scarcity of) natural resources of the planet and global economy. 
Constructions are photographed on site in 7 (city)parks of Amsterdam and 3 locations in the (green) Eastern Netherlands.
2500 Posters (double sided A3 FSC certified paper) are distributed in Amsterdam in Sep/Oct 2012, to organizations, households and cultural venues around the photography sites.
This project is made possible by The Amsterdam Fund for the Arts & the artist.

In dit project worden consumer products teruggebracht naar hun natuurlijke oorsprong, tenminste, ze vinden een nieuwe harmonie. Memoblaadjes ontluiken in de vroege lente, rijpe condooms hangen plukklaar in de boom, bloemen stuiven cement. Deze bijzondere nieuwe synthese voltrekt zich in de Amsterdamse parken, de foto’s zijn daarvan het bewijs. 2200 Amsterdammers hebben deze kleine wonderen inmiddels in hun brievenbus ontvangen.

– Read more about the project / Lees meer over het project
– Persbericht Exoticorum Imaginis Decem

Thanks to the kind support of



Tanzania revisited (Thinking Culture) / 2010 

Tanzania Revisited is a series of stories about people’s lives, which I was able to observe during periods of working in Tanzania, it felt like a second home to me from my first visit(s) to the city of Dar es Salaam (for project Tanzania Unlimited Ltd). I even fell in love with a Tanzanian manager/entrepreneur after a while and gave birth to my daughter Daleila in 2011.

Each single image of this series relates to social and economic questions and structures of society. The series contains unique openness, as a result of working without a project deadline or format. Experiencing an East-African country more as an insider, is a complex and time consuming process. In Tanzania, you can ask someone to pose in front of a house, or simply wait till someone takes position naturally, with an authentic expression. Works are made on site and based on interaction, leading to (staged) documentary works I couldn’t imagine beforehand. As I’m led by collaborative processes, ‘the other’ is personally involved to be represented equally and in renewing ways. The project reflects on cross-cultural relations and playfully interacts with the ideal of equality within a class-system.

Dar es Salaam is an inspiring city to me, not only because of its multi ethnicity, community structures, economic activity, international trade and rich biodiversity. In Tanzania, things aren’t always what they seem. This project aims to reveal a reality beyond conceptual, linear or aesthetic (western) perspectives, which occurred to me because I was willing to adjust to the culture (at that time I thought I could move there later). My pictures can be seen as a result of a collaborative process or dialogue.

“The continent is too large to describe. It is a veritable ocean, a separate planet, a varied, immensely rich cosmos. Only with the greatest simplification, for the sake of convenience, can we say ‘Africa’. In reality, except as a geographical appellation, Africa does not exist.” Ryszard Kapuściński, The Shadow of the Sun

Read more about images of the project or
Read an Interview on Intercultural Communication

Vale do Mondego / 2011

Artist in residence at cultural eco-domain Dominio Vale do Mondego, Serra da Estrela, Portugal

Read/see more: http://mathildejansenstories.com/vale-do-mondego/

– Eventual paint used on site at Dominio Vale do Mondego consists of natural mineral pigments and is environmentally friendly –

‘Let us now look at the world that surrounds us. The solid stones, the streams, the evaporating water that rises as mist and fog, the air – everything solid, liquid, gaseous and fiery – these are all, in fact, nothing but fire. Everything is fire – that is, densified fire. Gold, silver, and copper are densified fire. In the far distant past, everything was fire; everything was born of fire; but in all forms of densification, spirituality lies enchanted.’
Rudolph Steiner, The Spiritual Hierarchies and the Physical World: Reality and illusion


Uniform pluriform 
/ 2010

Collection of single (portrait) photography works related to Foucault’s heterotopia; non-hegemonic spaces and places of otherness. The pictures attempt to blur boundaries between global media (entertainment and news) images and local contexts, to create a parallel world of cultural representation. C-prints and additional semi-documentary photos of ‘the making of’. This project hasn’t received funds thus it couldn’t grow bigger.

Tanzania Unlimited Ltd. / 2008

This art photography project portrays Tanzania’s multifaceted, emerging economy. It highlights natural, industrial and cultural diversity, and socio-economic developments related to export companies. The project represents various industries, such as manufacturing, mining, (cultural) tourism and agriculture. Through artistically-staged and documentary photography on location, Tanzania Unlimited Ltd. shows a bigger picture of today’s life and society in Tanzania. Whereby local inhabitants are closely connected to the demands and expanding activities of international investors. Let’s discover a new image of Africa.

The project includes 2 slideshows, representing journeys through Tanzania’s economy
– Smaller selection of art (and documentary) photography: 2.5 minutes/per image
– Broad selection of documentary (and art) photography: 10 sec./per image.

Documentary photography within this broad selection relates to artistic sceneries. And is based on situations, current affairs and collaborations with people. More than 200 images, duration 14 min. View the slideshow of Tanzania Unlimited Ltd. on youtube. Originally edited for screening on a public art/movie screen at a railway station.

Thanks for the openness and support of participating companies and individuals. Tanzania’s potential, diversity and complexity are in fact overwhelming; the time is ripe for the world to discover it. All works (dark room) C-print/fine art photo paper, unless stated otherwise.

This project is supported by: The Netherlands Foundation for Visual Arts, Design and Architecture; van Bijlevelt Foundation; Niemeyer Fund Foundation

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Articles, backgrounds and prints:


Article International Museum of Women: ‘ “Tanzania Unlimited Ltd.” is a collection of photos showcasing business in Africa. It focuses on Tanzania’s economy, which has grown due to increased exports and other international trade. Though new industries are a boone to the nation’s economy, participation in the global market also creates cultural tension. International companies often impose foreign social codes and structures onto Tanzanian society, creating a culture clash in the business arena. This tension, along with the country’s ethnic diversity and growing local economy, sets the stage for Mathilde Jansen’s documentary-style, collage, and set-up photography..’ Read more here

Interview Her Circle e-zine:
http://mathildejansenstories.com/documentary-art-photography-intercultural-communication/
Media & natural resources: http://mathildejansenstories.com/international-resources-ltd/

Love economy / 2009 – 2010

Moonlight Tea Party (youtube – lower quality as quicktime movie)

We are the market / Are we free?

 

 

Bijlmer studies / 2007

In 2007 I was lucky to be selected to rent a house with 2 floors for living and a base floor as a studio. I loved the nature and informal atmosphere of my former Bijlmer neighborhood (suburb of Amsterdam).
Article International Museum of Women: ‘The Bijlmer, an intercultural suburb of Amsterdam, is undergoing a long-term renovation project that may reverse its image as a chaotic ghetto brimming with shadow industries. My collage, Destinations, expresses the universal search for a brighter future with better economical conditions, where two completely different worlds intersect.’
Read more about Destinations here

 

Wild West / 2007

This projects reflects on cultivated nature and cityscapes.
Taking part of the project false fear (publication Photofestival Naarden) in collaboration with photographers collective Los.

Balloon messengers of London / 2006

Londoners releasing cultural or personal messages throughout the city. Translations are available.

Touching African screens / 2006

Collages and photographs of my actual & local living surroundings, mixed with virtual&global African imagery found in books, papers and magazines at home or in ethnic museums. Exploring a hyperreality based on African mediagraphy and personal perceptions.

On my way to Tarifa / 2006

Video compilation On my way to Tarifa (English, 5 minutes) in dialogue with Ahmed Boulane.

          

The film Op weg naar Tarifa (Dutch/English, 20 minutes) documents a train trip from Amsterdam to the African film festival of Tarifa (Spain). Facing fog over the ocean and the gateway to Tangiers, while meeting cinematographers and actors. The video contains audio fragments of hypnosis-sessions. Researching sources of imagination and imagery of Ethiopia – where I had never been before – like films, media and literature. See the compilation (5 min) on youtube.

Heartbeat Iran / 2005

Art travel organized by Rietveld Academy. Launch art book publication in 2010

Journeys / 2005

Photography of the ‘macrocosmos’ in my house, neighborhood and city with a pinhole camera