D!NG stephanie de smet Roos van dijk Geert van Hertum Melissa Verschelde
Iâ€™m living my life, not buying a lifestyle. Barbara Kruger
welcome. D!ng is an online art magazine by Jolien Dirix
stephanie de smet
4 21 35 51
roos van dijk geert van hertum melissa verschelde
Stephanie De Smet
I studied analogue photography in secondary school, with all of its delights and pains. That is where I started to love the darkroom. All my pictures are still analogue and mostly developped by myself.
maybe working with film sounds complicated, but so is digital to me .
Phot call mys and it w confiden photogra
If I mak tion, pl & dogs t
tography to me is just something I love to do. But I wont self a photographer, this would be putting a label on myself , would mean I have to perform. I havenâ€™t gained that kind of nce yet and Iâ€™m very down to earth. The more I can do with aphy, the better.
Colour and coincidence are my two favorite words.
ke a shooting, I mostly let myself suprise through the localay with things around me ,things I find on the floor , cats that are in the neigbourhood, toys, trash...
hat can i say.. its just a fun way to see life through a camera"
15 swimming suits and leggings versus snapshots on the street.
Normally I never make series, nor do I start with the idea of making them For D!NG I made a series with some new pictures I made for a nice brand of swimming suits and leggings. I put them together with some snapshots I took on the street.
Iâ€™m also one part of the creative collective
Eye of the Hurricane.
Together with Jasper Haentjens we are looking for a new way to see the things around us by making pictures, videos and pop-up events...
Azovska 2, Nad Jazerom, Košice, acrylics on raw canvas 45x35 cm,
, 2013 KAIR
My work starts from my personal experience of a specific piece of contemporary architecture of my liking. I explore the modern city with my camera, sorting through the photographs and translating the captured material into paintings in my Amsterdam based studio. During this process I filter the image, magnify it, crop it, turn it, simplify it, I play with it and erase every human trace. Just the content that contributes to my personal experience of the moment and only the naked sturcture of the building will be cast in layers of acrylic paint. By presenting the viewer my personal image of the daily environment in a traditional medium like painting, I offer the chance to experience our surroundings with a different kind of attention in a different kind of way.
www. roosvandijk. com
Rovníková 8, Nad Jazerom, Košice, acrylics on canvas on panel, 13,5x19,5 cm, 2013 KAIR
Azovská 6, Nad Jazerom, Košice, acrylics on canvas, 100x140 cm, 2013 KAIR
Re the very E paintings isation th chance to of such a abroad att a very goo had to rei
Wh made of co of all thi the outski era: endle but recent Without he my new ser continuous shadows an Interpretating FrĂŠdĂŠric Chaubin, Dombai 01, laserprint and pencil on paper, 30x34 cm, 2012 (KAIR)
Ba on a great is to deve and to enc rience.
ecently, I spent three months in Košice, a city situated in East of Slovakia. I temporarily lived and worked there on new by invitation of KAIR Košice artist-in-residence, an organhat gives artists of all kind and from all nationalities the work with the city and her residents. Having never been part programme before, I can fairly say that this working period tributed to my development as a young, independent artist in od way. I was forced to leave my safe home environment and invent myself as a painter of architecture.
here I before had based my work on grand modern architecture oncrete, steel and mirroring glass, I had to face the lack is grandeur after exploring Košice. Instead, what I found on irts of the city were the leftovers of Slovakia’s socialistic ess rows of simple appartment buildings, once dull and grey tly renovated and repainted in friendly shades of pastel. esitation I decided to take the challenge and focussed for ries of paintings on the big, overwhelming fields of colour, s grids of balconies and windows and repeating patterns of nd décor.
ack in the trusted surrounding of my studio I can look back t time and see how beneficial it’s been to me. My next step elop a new formula combining either of my two working methods courage other young artist to aim for a similar great expe-
Bukovecká 17, Nad Jazerom, Košice, acrylics on canvas 38x30, 2013 KAIR Rovníková 9, Nad Jazerom, Košice, acrylics on canvas, 80x80 cm, 2013 KAIR
I h mod the
ave a fascination with dern architecture and e rush of modern life
De Hatert, acrylics on canvas, 180x120 cm, 2013
Stationsplein, acrylics on canvas 200x150 cm, 2012 Stationsplein/Weena, acrylics on canvas 200x150 cm, 2012 Vredeburg, acrylics on canvas 200x150 cm, 2013
Off the Wall, acrylics on panel, 40,5x31 cm, 2013
geert van Antwerp, Belgium
series, called: Places shows areas which you probably wouldn't notice when walking past. These are the places that fade away in the corner of your eyes when on your way to your school or job. These places only exist because of their functionality, because they are forgotten by their accidental “architect”. Often,
spontaneous installation art or extremely absurd constructions emerge here. The two things that ar absolutely necessary to find them are to acknowledge they exist and the time needed to look. For me this is a kind of quest. Sometimes I feel like I’m an explorer.
The feel of time has completely disappeared in the images. Often it not only looks like time is standing still in these pictures but also at the places they were made. The only movement at that time will be created by the wind.
By photographing this, by â€˜framingâ€™ those places and displ them somewhere else, thereâ€™s an even bigger alienation be the final image and the place. The use of a large white borde
frame steers the images even further away from the original context.
er and l
Sometimes I feel like I Am an explorer
As a photographer it’s my purpose to create some sort of awareness for the viewer, to show them those places like I see them myself. I want to create, for them, the same wonder that I saw at my first ‘discovery’.
To take pic Melissa Versc
a way of
Photography, for me, is
sharpening my look on the world surrounding me. It is with great care that I choose my subject and with care that I portray them. Working with a technical camera asks for more time in setting up and forces me to make choices in
advance. I I only take one picture.
I love to look at the subject while my camera takes the picture. I have set everything in place to make the picture, but in that very moment I can
serve as a represen
The subject of the
I have seen it, my mind. At one p coincides with an e or certain state o
moment that I decid
only wait and look.
To take To make
My pictures don't ntation of reality. photograph, when
travels with me in
point that subject emotion, a thought of mind. That's the
to take its pic-
Recently I've started processing my pictures in a darkroom. This opens up whole new possibilities and really feeds my artistic process. Things that I didn't feel I could do in photoshop, this has something to do with the responsibility I feel towards the negative,
now it feels more natural.
e pictures e pictures
"imagine there is a blue see"
DO YOU HAVE SOMeTHING FOR D!NG? d i n ga rtm agaz i n e@g m a i l.co m Submit you work ! Send us 12 images and tell us how was it created? Whatâ€™s your philosophy? Do you have future plans or exhibitions? Please also include a link to your online portfolio!
D!NG #5 with Stephanie De Smet, Roos van Dijk, Geert Van Hertum and Melissa Verschelde www.dingmagazine.com