SILENT OBJECTS, STILL INTERIORS TL MAGAZINE

Beyond a description of reality, built on references over the years, the poetic image begins as a concept. The photo itself is a technological product, a tool for making visual contact with the emotional and the poetic. I am now investigating this intensively Nowadays a distinction is made between intelligent architecture or showy architecture, between contemporary or classical, between finished or in progress, between expensive or cheap, between sustainable or perishable. Interiors and architecture are documented as a product. They are collections of spaces, materials, structures and objects, with technology, material, colour or formal language as the highest good. I see very few personal interpretations in interior and architectural photography, both in editorial and in artistic publications. Very often the photographer's contact list seems to be part of the concept. This ongoing series, Silent Objects, Still Interiors, hopefully results in poetic and timeless images. I was pushed until now to depict interiors, architecture and still-life's that are inf luenced by capitalistic tendencies which prevail in the construction and design world. They are the sets that we all know from social media and lifestyle magazines. For years my work consisted of sharp, realistic, graphic and documentary photography. I was always searching for making one sharp, literal anaylsis. It was often a composition with the parts of the subject that I saw through my lens. I often assembled these parts to create a sometimes realistic, sometimes abstract and occasionally surrealistic image. Very often it became a distant and technically perfect image. For this new series, I am shooting in a different way. The quality of today's digital camera and the computer, the tools to create the image is an important factor. The digital camera is now being used as a painter works on his painting with his brush. The use of a high-tech tool to create poetry, rather than doing that afterwards during post-production. And sometimes two photos merge into one image by means of double shots or the technique of double shots, to create a poetic layering, often gives the images an analogue feel. An extra layer is added: the nostalgic analogue layer. This is conscious on my part, not so much for the hint of nostalgia, but for the contradiction that lies in this. The creation process refers to analogue photography but also to the act of shooting. is never far away. Decision making while shooting. Coincidence can happen but afterwards the two images can no longer technically be separated from each other. All this enables me to translate the impressions I get from that reality (material, object, space, interior, architecture or yard...) into photography. Interpreting this feeling that this current reality gives me is now kind of like looking inside an intimate universe. 

IMAGERY & TEXT BY Frederik Vercruysse,

PUBLISHED IN TL MAGAZINE 33.

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