Page 1






4 14 22









In our visual culture we are flooded daily with explicit images. These images can be narcotic and paralyzing. Additionally when we are repeatedly exposed to the same pictures over and over, they seem to become less real. Industrial society also makes photo junkies of their citizens. Taking snapshots is even seen as a social obligation in many social gatherings. My work has the opposite intention on the viewer. My pieces make you stop and think . They contain suggestive elements, but not directly showing us what the subject of their intention is. The relationship between man and nature is a recurring theme in this photographic work. Through my landscapes I examine the dialectical relation between myself and nature as a reflection on my personal life. The landscapes both had a mental


and physical attraction for me. They are suggestive pictures where little explanation is given. It has not been the intention to explicitly tell what philosophy lies behind the viewer. The landscapes should contain an unknown, strange factor that is associated with experiences of loss from my personal life. When it comes to locations, the places where I looked were not always the places that I was looking for. Some images were purely coincidental and others were planned. It was an alternation between wandering through the landscape and predetermined locations. It is very associative work and the choice of topics are certainly not random. I was deliberately looking for holes, cavities and distortions in the landscape caused by both mother nature and man. The main function of our imagination is not the mak-


ing of images of external rea images that give us access camera captures pictures tographer who is using the c position as well as settings a own ‘reality’ within the prese ternately used images in bla For some pictures the form and color would only distrac Others can create a certain are in color. I also vary m sizes, placing the work in clu next to each other creating proach and appearance. The memory is not linear. cal. This means that it is m

ality, but rather creating to reality. Although the from reality, the phocamera can choose the and can still capture his ent state. There are alack and white and color. m is the most important ct the viewer too much. atmosphere when they my work using different usters, above, below or g a more dynamic ap-

associations, all of which refer to the same event or experience. If we want to place images in the context of our experience, social experience or social memory, we must respect the rules of the memory and present them to the viewer in the right manner. There is never a uniform approach to represent a memory or experience in an image. The way of presenting through associations, the material on which it is printed, any attached texts and titles provide a coherent whole. The work must be an intelligible whole that can be viewed from various angles. In contrast to the memory, pictures don’t store the meaning of a particular event or location. On the other hand, the images show places or events Your memory is radi- that are deprived of their meaning. The meaning is the made up of a series of result of insights into functions.

The idea of a memory as a repository of past experiences needs to be unleashed and be replaced by the idea of a memory as a collection of features that react to current events. The present is nothing but the result of what we project on it from past experiences and our memory consists of nothing but the parts of the current events that are

reflected what was Image and tion. The outer and tal images on the ‘in world. With

in our mind: ‘ what is, effect of s; What was, effect of what is ‘. d imagination have a cognitive funcimage is the mediator between the d inner world of our intentions. Mens arise and therefore an interaction nterface’ from the outer and inner h “emptiness as string nothing is un-


connected,” says the wisdom of the Mahayama Buddhism. In the sutra ‘Heart of Perfect Wisdom “ this is said about emptiness:

“Form does not differ from void void does not differ from form. That which is form, is void; That which is void, is form. “


LOES AERTS The main leitmotif of my graphic work is the deprivation and degradation of the human constitution. For quite some time the effects of psychological trauma on the human mind and how it bears on the body have fascinated me. Two world wars have a left a massive mark on consecutive generations and in a broad sense, the post-modern generation is blind to the full extent of the mental repercussions.



In my work, I attempt to elicit internal pain by expounding it and projecting it on the human body. I usually try to accomplish this using photo etch. I mainly use old photographs of soldiers and sometimes including photos of relatives. These types of photos are characterised by a sobriety and taciturnity, a typical silence that stand in stark contrast with the brutal reality of war. There’s nothing beyond the composition. Starting from these images, I attempt to draw out that which seeps through the cracks and crevices of the soldiers’ apparent composure and imagine how I would sculpt it in their flesh. Due to a lack of space and material I am now temporarily concentrating on painting and drawing.




This is a sculpture I made in 2009. The object is inspired on a pool ladder and is based on a childhood memory where I almost drowned in a swimming pool. The pool ladder was the last thing I saw before everything went black and is therefore always remembered as a scary thing. The sculpture was presented in the corner of a white box. The sculpture casted a shadow on the wall by a blue light that was focused on the object. Across the room was a chlorine odor. Outside the white box the sound of children playing, while in the white box the sound of a heartbeat was playing. I have always considered the sculpture as ‘not finished’ and decided to recycle it. The plan is to remove the black paint and reviewing the form, make a projection mapping on it and showing it end September in my studio.

June : The sculptu as I imagined. Thr surface, I have to the form of the s I’ve also made som interesting to proj

Beside this I’m wo ment I’m working on the sculpture. mapping because swise the projecti


So I’m looking for pool ladder which person who ‘danc

ure is finally at my studio and I’m now removing the black paint, which isn’t as easy rough the years the paint has settled in the sculpture and because it’s not a smooth get all the paint out of the cracks. At the same time I’m polishing the surface to make sculpture slimmer. The sculpture has to be white to make the projection perfect. me photo’s of different angles of the sculpture so I can decide which angle is the most ject on.

orking on an other project which has to be finished by the 10th of July. So at the moon that. In mean time I’m playing with the idea to make a half- naked fat man ‘ride’ Although this could be great for a performance it isn’t as great for a video projection the object must (at all causes) remain at the same place during the projection.Otherion will not have the same (moving) effect.

a choreography to do beside the object. I want to show the tension between man and h symbolises an animal made by man. But I’m not sure if I want to do it with a real ces’ or with a shadow or something presenting a man.

I have always considered the sculpture as ‘not finished’ and decided to recycle it. The plan is to remove the black paint and reviewing the form, make a projection mapping on it and showing it end August in my studio.

The sculpture is finally at my studio and i’m now removing the black paint, which isn’t as easy as i imagined





Since May their are 32 artists and organizations working in the studios of the Bonnefanten School in Hasselt. On Saturday, June 29th they had their first open atelier day. The studioĂ­s wher open for visitors. In their studioĂ­s the artists showed a great diversity of their works in progress. One of those artist is Eveline Lambrecht. She is working on some new works including the work she discrib for this issue. Their wil be an other open atelier day on the 28 of july. The artists will be presenting their work for the visitors. As well as speaking about the ideas behind the masterpiece. For more and photos of the first open atelier day you can visit their facebook.



Personally i find this a really good project. I think most artist donĂ­t have the space to produce their work. This is a good opportunity and a good initiatief for upcoming artist to explore their own work. - Jolien


DD’yeux is an online magazine that focuses on emerging artist who’s talent may be seen CONTACT US



Online art magazine by Jolien Dirix & Debby Thijs

DD'yeux issue 1  

DD'yeux is an online art magazine by Jolien Dirix and Debby Thijs - Graphic design by Linne Voets

Read more
Read more
Similar to
Popular now
Just for you