The skin does not lie:
it’s a person’s age map;
it’s the paper
where his choices, failures, passions, fears
are written on.
The body defines ourselves,
it stratifies and heals passing of time
under veils, blankets and hidings.
As the trunk to the trees.

As the paper to this book:
it changes,
it is crumpled
or turns thin and transparent,
defining
- thanks to Ingrid De Kok’s words -
the map of a weathered body.

Take it, trace it, map it
Remember

In every fase of life the essence is different. But what is the essence of life when you grow older? When you pass a certain age which seems to be a signal for society to move you to its fringes? At the same time you still have the desire to be seen, to be recognised by that same society. For what you are. For who you are.

Do you hide your real age (if needed by cosmetic interventions), do you accept or do you even fight these (unwritten) rules of society. Body maps is Lansink’s visual interpretation of this ambivalence showing compassion for women in this later stage of life. When ageing and the visible traces of life are evident. Do you hide these traces and scars or do you show and cherish them as memories of life?

Lansink interconnects these very feminine images with close up of traces from Mother Nature where h

uman intervention has left deep impact. Contemplating if we better not intervene with these natural processes of ageing but instead show respect and embrace its outcome.


BORDERS OF NOTHINGNESS - ON THE MEND



Borders of Nothingness - On the Mend

In the infinite flow of everything, people come and go in our lives. While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.
In Borders of Nothingness, Dutch photographer Margaret Lansink (b. 1961) dwells in the transitional ambiguity of her adult daughter’s decision to suspend contact with her, photographing landscapes and nude women whose disappearing presence raises the same haunted question: is this the moment you were gone?
As time passed, Lansink and her daughter reconnected to investigate whether their break could be mended. Lansink then began to revisit and reinterpret Borders of Nothingness in a physical practice that mirrored their emotional efforts of healing. Working from the Japanese practice of repairing ceramics with gold leaf, she combines her images, severs them, and mends their breaks with gold leaf to put hope into the possibility of a bond that is stronger and more beautiful because it had once been broken.
February 2019 written by Katherine Oktober Matthews

For prices please contact me or  

   for France Galerie XII     

for Belgium  IBASHO Antwerp  

for the Netherlands: Galerie Caroline O’Breen Amsterdam




COLLAGES BORDERS OF NOTHINGNESS  - ON THE MEND

All collages are being made
by myself
of Japanese handmade washi paper
and they are mended with
23 Kt goldleaf.

Total edition of 3 + 2 AP

BORDERS OF NOTHINGNESS



Borders of Nothingness

In the infinite flow of everything, people come and go in our lives.
While the presence of some can be so subtle that we hardly register when it begins or ends, with others it’s far clearer: they enter, or leave, with a bang.

In her delicate and powerful series of black and white images, Dutch photographer Margaret Lansink (b. 1961) dwells in the emotional state of transition between knowing and not knowing another person. In reaction to her daughter’s decision to suspend contact with her, Lansink uses the camera to feel out the sense of severing a connection. She photographs landscapes and nude women, often rendered mysterious or unreadable, seemingly asking: is this the moment you were gone?

Borders of Nothingness raises heavy questions regarding the presence and absence of others in our lives, engaging with our sense of loss as well as the everyday miracle of making the acquaintance of another.


(words by Katherine Oktober Matthews, feb. 2018)


SEE ALSO: “BORDERS OF NOTHINGNESS - ON THE MEND”

All images of Borders of Nothingness are gelatin silver prints, printed by myself in the darkroom on Fiber Baryta Warmtone paper.

For prices please contact me or   |    for France Galerie XII   |   For Belgium  IBASHO Antwerp   |   For the Netherlands: Galerie Caroline O’Breen Amsterdam


HESITATION






 

Hesitation


Hesitation is about that universal feeling in an intimate human relationship of giving yourself emotionally to the other person. This series mirrors my own
inner feelings of deep fear when not having the control anymore. With no place to hide and no other way forward than to truly open up to this other person. Showing my bright as well as my dark side, my own good and bad. By doing so putting my trust completely in the other person; the scariest thing I have ever done.


The series shows my inner struggle, yet I want the spectator to experience it in his/her own way. To have my images invite him/her to go on his own journey or take his/her trip through memory lane. To fully realise that there is no other way to deeply connect to the other person than by opening up truly and completely.

FEAR NO MORE

Day after day I’m more confused
Yet I look for the light in the pouring rain
You know that’s a game that I hate to lose
I’m feelin’ the strain, ain’t it a shame
Oh, give me the beat, boys, and free my soul
I wanna get lost in your rock and roll and drift away

 
                 
               


                    

     


Fear no more

For as long as I can remember I had this feeling of being out of place. My presence didn’t truly matter. So I tried to be as cheerful and happy as I could be. Coloring my life for the outside world to over-compensate for my true inner feelings. Until ten years ago, when my physics surrendered and forced me into a confrontation with myself.

In “fear no more”, I have put aside my old habits. I have faced my deepest emotions. Picture by picture I broke down the fences of my fears. I dared to accept life and love. Photography became an essential necessity; via my images discovering who I really am.

Although the origin is personal, I strongly believe that there's a universal element to it as in today's society we all try to paint pretty pictures and thereby drift further and further away from our true selves.