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The origination of my photos are long wanderings through woods and fields in The Netherlands and abroad. On travels through Australia, New Zealand, Japan, Cambodia, Nepal among other countries, I see growths that stand out.
England takes a particular place. Once a year I enjoy the numerous public footpaths. These are an exquisite area to encounter trees that got time and space to full-grow. The trees are alternated by left mines, dismantled railways and other remains of industrial activities, often overgrown with a dense foliage.
My camera serves to research my artist’s themes: I make pictures of objects that intuitively catch my attention. Doing so, I collected an enormous number of trees, people and natural phenomena. On my website you find a selection.
Textile, colourful little tables, stand up alone grace to their wooden kernel.
Exuberant life, procreation and decay are my themes. The most obvious situation where these themes are visible is, when nature and culture struggle for space, where trees grow in whimsical ways to survive.
I use textile and paint. Working with textile is a time consuming way of making art, but there is a reward: fabrics give intense colours and tactility. Touching fabrics is delightful. I like to examine their transparency, their softness or roughness, their flexibility or stiffness. In combination with paint a diverse palette of colour shades and textures arises. According to Leeuwarder Courant (14th of June 2013) this makes my work quirky and independent-minded.
The source of my site-specific art is an inner dialogue with the place. I experience its silence, its history, its geography and create in response and in harmony with what exists.
An art project is a temporary intervention in nature, nature remains predominant. Art and nature strengthen each other. Art possibly brings the history of the site into life, evokes to discover the place and creates awareness of how great nature is. It brings the public out of daily life. Through the artists’ eyes the visitor experiences new aspects of the site.
Essential is the interaction between public and artist. If possible I invite the inhabitants of the area to share the process of creation.
I’m intrigued by the influence of humans on nature. Long ago nature could develop itself, but now in Europe few untouched nature subsists.
The word ‘nature’ demands a further explanation. Artists in Nature International Network (AiNIN), of which I am a member, avoids to be purist about nature. The network has the following definition of nature: ‘Nature is what exists when the artist arrives.‘
‘Langzamerhand verander ik van een schrijver in een wandelaar. Een wandelaar die zich op een zonnige lentedag door een bos beweegt, genietend van de kleuren, geuren en vormen om zich heen. Hij komt een boom tegen en verbaast zich over de vorm, de bladeren, het licht van de zon erop. Zijn blik gaat naar beneden en volgt de stam van de boom, die uitloopt in een netwerk van wortels. Grote dikke wortels, die zich langzaam vertakken in steeds kleinere uitlopers. Hij lijkt door de grond heen te kijken, verwonderd over alles wat hij niet kan zien. Ineens vraagt hij zich af, of er fysieke vormen uit zijn lichaam kunnen groeien als hij blijft staan, die net als de boom, met eindeloze vertakkingen geleidelijk opgaan in de omgeving.’
Emile de Jong (kunstenaar, fotograaf, 2008)
