Margaret Lansink makes work out of necessity. Not to produce beautiful images — though beauty is never absent — but to move, to disturb, to invite a different quality of looking. Her practice begins with photography and extends through collage, painting, and alternative printing processes including Liquid Light and platinum–palladium. Images are layered, partially obscured, altered. What interests her is not the moment of capture but what time does to things afterward: the slow accumulation of change, the gradual recession of what once seemed certain.

Lansink studied at the PhotoAcademy in Amsterdam, and continued at Le Masterklass Paris and Atelier Smedsby. Her practice has always been rooted in an intuitive, analog tradition — one that has deepened over time into an increasingly material and painterly inquiry.

Her work stays close to the fragile and the unresolved — to impermanence, loss, vulnerability, and the possibility of repair. These themes are increasingly located in landscape and in the human body: abstracted, eroded, allowed to dissolve. The natural world is not backdrop but subject. She works slowly, in layers, asking the viewer to do the same: to pause, to look twice, to sit with what cannot be fully resolved.

She has published ten photobooks, five as handmade limited editions. Her work has been exhibited in museums, galleries, and festivals across Europe, North America, and Asia — including Paris, Tokyo, Kyoto, New York, Miami, Tbilisi, Amsterdam, and The Hague — and is held in the libraries of the Victoria and Albert Museum, London and the Stedelijk Museum in Amsterdam.

In 2019, Lansink received both the Grand Prize of the Hariban Award for her series Borders of Nothingness - On the Mend and the Best Dutch Book Design award for the book The Kindness of One. In 2025, the book Unbound received the top prize at the Fedrigoni Top Awards. She lives and works in Amsterdam, the Netherlands.