MA Studies > Fine art > Fine art alumnus > Anouk Mulders

Anouk Mulders

Alumnus
Duration Pieces


Isolation---Concentration---Location

The tension between the inside and the outside space is always there. The basis for living, passing from one place to another, is the mental space we all carry around with us.

 

 

I research how a photo camera can be used as a means to position myself in space in limited time. Isolation and the act of photographing makes me able to clear myself in space. The act of looking through a camera lens creates enormous concentration or a tunnel vision in which emptiness is the bridge, through which that is possible. I call it a tunnel vision because all other senses are being shut off during the act of photographing. Photographing takes a moment out of time, or makes a moving moment absolute. Nothing in my photo’s has been moving or is going to move. Movement was never there! It was me…being moved by what I saw. The photo’s are a sediment of myself in space. Space and me, the outside and my inside, two temporalities that have to relate to each other and can meet in a photo.
 

I’m not looking for the photogenic. I don’t photograph something beautiful, but I record the intensity of my gaze as honest and pure as possible in just that moment. By looking at something for a long time its place is given. It is defined through the place it gets in the photo. Objects show themselves through the place that they take in. They seek their appearance in space. The photo doesn’t express a subject but a vision on a subject using its space. The extreme eye of detail makes the irrelevant seen. I show the viewer that I’ve been looking at a part of a door and the photo shows him how I’ve been looking at it. What I don’t show is why I’ve looked at it. This is something that I leave up to the viewer.
 

It is not about what is being photographed, it is not even about photography, it is about a vision that is shown. 
When someone sees things that he knows from a distance, through a photo, the image functions as a pipette through which the viewer is forced to propagate his surroundings in his head and to see things differently. I communicate my gaze, not photography, and not what’s being photographed, the gaze becomes the topic.
 
 


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