2017

 

 

Places

In 2017 my photographs centered around the here and now. I am fascinated by it’s temporality and I value the attention it requires. I captured places and focused on what was present there at that moment.

We forget the earth we walk on,

let’s focus on where we are and what we experience right here right now.

 

 

Breda, CSM-terrein 14-10-2017

Breda, CSM-terrein 14-10-2017

Click here to watch more photographs of this day

 

 

 

Breda, CSM-terrein 24-9-2017

Breda, CSM-terrein 24-9-2017

Click here to watch more photographs of this day

 

 

 

Breda, CSM-terrein 17-7-2017

Breda, CSM-terrein 17-7-2017

Click here to watch more photographs of this day

 

 

 

Advertisements

2014-2016

 

 

Transience

 

Evelyne Hendrikx – The Action never Lies
By Sabine Harrer @enibolas, 2016

 

In a world obsessed with function and meaning, a world characterised by ego and self- realisation, Evelyne Hendrikx art is a welcome reminder that we already are. Looking at her imagines is a confrontation with the order that exists beyond construction. These images do not address origins, reasons, points of views. They honour aliveness.

It’s not important whose aliveness; no war is fought, no mission appointed. Hendrikx uses photography beyond the dominant paradigm of representation. A technique that isn’t technical, that isn’t interested in display. The camera is an ordering tool that presents us with the world without the ambition to frame it. Like a shovel, like a crane, it extracts the raw materials Hendrikx needs to shape her art objects. There is a de-fetishisation of technology; it is not important where the camera points, or, more radically yet, how it functions. Photography is a dull labourer, made to deliver.

Deliver to what? Hendrikx’s perception. Of architecture, of water, of the sky. Over time, her fascination with aliveness moved from concrete places to the more vulnerable motif of temporality: How does the moon move across the night sky? How does a wave break on the sand? Hendrikx’s images are always composed of an entire series of photographs capturing the harmonic patterns of a distant microcosm. What they share is a concern for the impersonal, the common, the removed. By no means does this remove the viewer from the world; the opposite is the case. Hendrikx domesticates life “out there” by subjecting it to intense, careful scrutiny.

The images teach us that zooming out can be a discipline of intimacy and mindfulness. It is an action yearning for inclusion; by opening up, it celebrates wonder, not portrayal, complexity, not simplicity, plurality, not singularity. It presents us with a world in which nothing is special, but all is vulnerable. It is a world in which the action never lies.

 

Click here to watch more of my past work

 

 

Breda, Academiesingel, Sky 2-9-2014

Breda, Academiesingel, Sky 2-9-2014

 

London, Thames 10-9-2014

London, Thames 10-9-2014

 

Klooster Wittem 6-8-2015

Klooster Wittem 6-8-2015

 

Breda, Academiesingel, Noon 2014/2016

Breda, Academiesingel, Noon 2014/2016

 

 

 

 

2006-2014

 

 

Cities

Between 2006 and 2014 I visited cities to photograph the architecture present there. I documented light and space, place and time.

Walking, watching and photographing is a given for me, it’s something that I do naturally. But what you subsequently do with those photographs and what do they mean?

 

Berlin 2007-2009

Berlin 2009

 

Rotterdam, Wilhelminakade 9-3-2014

Rotterdam, Wilhelminakade 9-3-2014

 

Amsterdam 2007-2014

Amsterdam 2007-2014

 

Brussels, Koning Albert 2-laan 13-4-2014

Brussels, Koning Albert 2-laan 13-4-2014

 

Brussels, Proximustower 13-4-2014

Brussels, Proximustower 13-4-2014

 

 

 

2004-2014

 

 

Image research

In the period following the academy I discovered that the photograph was not what I was looking for. I started to combine the photographs. This was a gradual process, up to the point that there was no longer any question of photographs, but of a composite image. From composing the photographs so developed a new factor, the image. This coincided no longer with the photographs. This meant that I now worked with two factors, the photographs and the image. Working with two variables means that they enter into a relationship.

How can these two quantities live in harmony? How can they preserve their identity and still have a relationship?

 

Click here to read the complete text

 

 

Structure 2005

Structure 2005

 

 

Buildings 2006

Buildings 2006

 

 

Towers 2007

Towers 2007

 

 

Rotterdam, Gebouw Delftse Poort 2010

Rotterdam, Gebouw Delftse Poort 2010

 

 

Berlin, S-Bahn 2011

Berlin, S-Bahn 2011

 

 

 

2000-2002

 

 

Early work

Und fortzugehn: wohin? Ins Ungewisse
Und fortzugehn: warum? Aus Drang
Wahl, Wort. Was in dir kommt und alle Dingen. Alles was uns anrührt
Das und das Innre. Alles andre fern, als andre Seite

Words: R.M.Rilke

 

Click here to watch more photographs of this early period

 

 

Eindhoven 2001

Eindhoven 2001

 

 

 

Zwolle 2001

Zwolle 2001

 

 

 

Charleroi 2002

Charleroi 2002

 

 

 

Evelyne Hendrikx – The Action never Lies

By Sabine Harrer @enibolas, 2016

 

In a world obsessed with function and meaning, a world characterised by ego and self- realisation, Evelyne Hendrikx art is a welcome reminder that we already are. Looking at her imagines is a confrontation with the order that exists beyond construction. These images do not address origins, reasons, points of views. They honour aliveness.

It’s not important whose aliveness; no war is fought, no mission appointed. Hendrikx uses photography beyond the dominant paradigm of representation. A technique that isn’t technical, that isn’t interested in display. The camera is an ordering tool that presents us with the world without the ambition to frame it. Like a shovel, like a crane, it extracts the raw materials Hendrikx needs to shape her art objects. There is a de-fetishisation of technology; it is not important where the camera points, or, more radically yet, how it functions. Photography is a dull labourer, made to deliver.

Deliver to what? Hendrikx’s perception. Of architecture, of water, of the sky. Over time, her fascination with aliveness moved from concrete places to the more vulnerable motif of temporality: How does the moon move across the night sky? How does a wave break on the sand? Hendrikx’s images are always composed of an entire series of photographs capturing the harmonic patterns of a distant microcosm. What they share is a concern for the impersonal, the common, the removed. By no means does this remove the viewer from the world; the opposite is the case. Hendrikx domesticates life “out there” by subjecting it to intense, careful scrutiny.

The images teach us that zooming out can be a discipline of intimacy and mindfulness. It is an action yearning for inclusion; by opening up, it celebrates wonder, not portrayal, complexity, not simplicity, plurality, not singularity. It presents us with a world in which nothing is special, but all is vulnerable. It is a world in which the action never lies.

 

Klooster Wittem

 

At the beginning of August 2015 I stayed for several days at the monastery in Wittem and took photographs in the monastery garden. The intention was to also explore the surrounding area, I had seen on the map that there was a forest, and a river running through the village in the vicinity. It shouldn’t have surprised me, when I eventually spent the whole four days in the monastery garden, but I was. What I also could not have imagined in advance, was that I would return to my childhood. Continue reading