Waves from the Web, 2009

exhibitions

Anne de Vries

Foam presents the first major solo exhibition of visual artist Anne de Vries (born 1977, The Hague) in which existing and new work are combined. 

Anne de Vries grew up in a time in which the internet, Photoshop, Tumblr and mobile upload feeds came to seem entirely natural. They embrace the fluid, dynamic world that exists in the computer and the new world facilitated by it, deploying photography as an important part of a far broader artistic practice, in which a diversity of materials, techniques and methods are brought together. His visual language is strongly influenced by corporate branding, commercial visual merchandising and stock photography.
The starting point for Anne de Vries' work is the combination of abstract notions of &lsquo;new materialism&rsquo; with the everyday, common objects and with new materials, technologies and printing techniques. His oeuvre ranges from two-dimensional digital photography and three-dimensional photo sculptures to new media installations.
In its content De Vries&rsquo; work is based on the influence of technologies on our perception and experience of the world, and the resulting social and political implications.
As De Vries puts it: &ldquo;What interests me is how digital technologies are ultimately rooted in the human need to overcome physical and mental limitations. This is an ancient quest in which science, art and the spiritual are bound up together, a quest that has produced the manipulated reality of our day and of the future.&rdquo;
The exhibition is a reflection on the appeal of progress, the position of the individual among the masses and the roll of imaging in an increasingly globalised economy.
NEXT LEVEL From autumn 2015, Foam is organising the Next Level exhibition series with support from Ammodo. This series aims to introduce a broad public to the innovative art of relatively young image-makers who take a revolutionary approach to the medium of photography. Anne de Vries is the first selected artist in this series.
Partner Next Level: Ammodo Anne de Vries&rsquo;s new work is supported by the Mondriaan Fund.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Delta Lloyd, City of Amsterdam, Olympus and the VandenEnde Foundation.
ABOUT ANNE DE VRIES Anne de Vries has participated in numerous international group exhibitions, including the Mambo Museum , Bologna (Italy), Museum Angewandte Kunst, Frankfurt am Main (Germany), Museum De Hallen, Haarlem (Netherlands), Minneapolis Institute of Arts, Minneapolis (USA) , The Moving Museum, Istanbul (Turkey) and Foam, Amsterdam (Netherlands). His work is included in several private and corporate collections and the collections of Rhizome, New York (USA) , Museum Winterthur (Switzerland) and Foam, Amsterdam (The Netherlands). He was a resident at the Rijksakademie van Beeldende Kunsten from 2011-2012 . He studied at the Rietveld Academy in Amsterdam and at the Cooper Union for the Advancement of Science and Art , New York (USA). The artist is represented by Galerie Martin Zomeren in Amsterdam.

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Created by Katinka Goldberg in 2014. The artwork is printed on Canson platine fiber rag - glossy - 310g, mounted on dibond and displayed at 100 x 70 cm.

Visible in

, another of Katinka Goldberg’s works from the series 

, what stands out (other than the difference in palette) is the difference in distance. Instead of a close-up that fills the entire frame, 

 shows a small, cut-out photo piece in the middle of a blue plane. On the cut-out, we can distinguish the same kind of hair as in 

, the series that this photo is part of, is the second entry in a trilogy in which Katinka Goldberg investigates her relationship with her family in a poetic manner. The Swedish term Bristningar literally translates to “striae” (stripes in the skin caused by stretching), but it also has the more figurative meaning of “shortcomings”. The series consists of collages created by Goldberg that depict the tension between closeness and distance and, in a process of healing, deconstruct the body and put it back together. The question she keeps asking herself is: how much can you take away from yourself without disappearing completely? 

The Birdnest, 2014 from the series Bristningar

The Birdnest, 2014

This close-up of curly hair and how the light falls across it give this image an intimate feel. At the same time, it is cut off in such a way that viewers have no idea who this hair belongs to or what the person looks like. With this image, photographer Katinka Goldberg captures a particular emotional mood that is typical of her work. 

The Hair, 2014 from the series Bristningar

The Hair, 2014

Created by Stefanie Moshammer in 2017. The artwork is a Photo rag mount on dibond and displayed at 160 x 106 cm.

In Western media, Haiti is generally portrayed as a place plagued by poverty, natural disasters and corruption – a one-dimensional view that was reinforced by the devastating earthquake that hit the country in 2010. In her series 

, Stefanie Moshammer presents an alternative and more nuanced view that highlights Haiti’s unique culture, language and history without brushing aside the country’s issues. Moshammer’s photos poetically capture the Haitian people’s living conditions in close-ups of human figures that showcase both the country’s idyllic beauty and the struggles of living without a water supply or electricity. 

 has a certain dynamism and playfulness you don’t often find in portrait photography. Take another good look at the photo: what elements can you identify that strengthen this dynamic feel? 

Kawa from the series Tomorrow of Yesterday, 2017

Kawa, 2017

Created by Harit Srikhao in 2017. The artwork is an inkjet print on Epson satin paper and displayed at 124 x 100 cm.

In Hindu and Buddhist mythology, Apsaras are immortal nymphs that often appear as attractive young women whose purpose it is to seduce. This portrait by artist Harit Srikhao, part of the series 

, presents a modern, surrealist depiction of an Apsara. The visual idiom that the artist uses is derived from fetish fantasies, Buddhist symbols, and Thai culture. In 

, Srikhao reflects on the glorification of the monarchy in his country and comments on the role of depictions of the king in the Thai people’s everyday lives. Srikhao’s works have had their consequences: in the past, various of his images were removed from an exhibition in Bangkok because they criticised the actions of the military regime in power at the time. 

The Portrait of an Apsara, 2017 from the series Mt Meru, 2017

The Portrait of an Apsara, 2017

Created by Harit Srikhao in 2017. The artwork is an inkjet print on Epson satin paper and displayed at 116 x 144 cm.

In the average Thai household, a photo of the king takes pride of place, occupying the highest, most prominent place on the wall. Having grown up with this glorification of royalty, artist Harit Srikhao reflects on the divine status attributed to the king of Thailand. The idolatrous worship of his image is a deeply-rooted part of Thai society, and offers refuge in a fantasy world. In the series 

, the name of a sacred mountain that also forms the centre of the universe in Hindu and Buddhist cosmology, Srikhao shows the viewer this surrealist landscape full of fantastic, divine figures. His photos do not depict any nirvana, however – if anything, they put one in mind of violent rituals, cannibalism and masochism. In this way, Srikhao’s 

 emphasises the paradox of what he encounters in Thailand: the everyday worship of a portrait of the ruling power versus the absence of room to question its meaning. 

The Indra Reincarnation, 2017 from the series Mt Meru, 2017

The Indra Reincarnation, 2017

Created by Namsa Leuba in 2015. The artwork is an inkjet print on satin paper on dibond 2mm and displayed at 60 x 43.8 cm.

This photo is bursting with graphic forms and lively colours, and the model’s posture radiates a sense of pride. The pink background contrasts with the yellow on Damien’s cheek. Aesthetically, this photo resembles a fashion shoot, much like you can find in a fashion magazine. Yet the photographer Namsa Leuba actually works in the space between multiple genres: inspired by fashion photography, she combines this form with documentary practices and performance art. In het series 

, she explores Nigeria’s innovative and creative youth culture. The Nigerian capital of Lagos, with its bustling chaos and resolute energy, served as Leuba’s inspiration for this series. To create 

, she collaborated with local fashion designers and models to translate the city’s vitality into a visual explosion of clothing, props and accessories. The resulting images, such as this portrait of Damien, present a complex, dynamic and contemporary reflection of Lagos, a city that proudly proclaims its own identity. 

Damien, 2015 from the series Next Generation Lagos, 2015

Damien, 2015

Created by Vasantha Yogananthan in 2016. The artwork is a black and white c-print hand-painted by Jaykumar Shankar and displayed at 42 x 34 cm.

The symmetry of the pillars and the double wooden doors on either side of the central figure funnel all attention to the subject. The contrast between the bright colours of the clothing and the monotonous colour of the door further accentuates the elegantly dressed boy. Note the use of lines in this photo: the border between the pink and blue fabric is almost exactly in line with the gap between the doors above, and visually splits the image in two. The photo is part of the series 

, in which artist Vasantha Yogananthan creates a contemporary interpretation of the ancient epic of 

. Using old mythologies and techniques, Yogananthan tells the story of India’s changing, modern society. The artist took photos throughout the entire region, with the current residents of the mythical landscapes serving as his models – regardless of their castes.

'Boy Playing Girl', Janakpur, Nepal, 2016 from the series A Myth of Two Souls, 2013 - ongoing

'Boy Playing Girl', Janakpur, Nepal, 2016

Created by Vasantha Yogananthan in 2015. The artwork is a archival inkjet print on Canson Print Making Rag 310gsm and displayed at 81 x 65.5 cm.

A frame within a frame, within yet another frame: the bird in this image is not only imprisoned within a cage, but also within the white field of the sheet, which is in turn enclosed by the photo itself. The light background creates a clear contrast between the bars of the cage and the sheet, and as a result, the cage and the bird almost seem to separate from the image. At the same time, the sheet on the clothesline almost precisely mirrors the dimensions of the image, enhancing the aesthetic. 

. The second chapter celebrates the love between the two protagonists, prince Rama and princess Sita. Knowing this, the image takes on a melancholic mood: what exactly is Yogananthan suggesting with the title “lovebird”, when the bird is trapped in a cage? It is this suggestive quality in the image that gives it its poetic character. 

'Lovebird', Ramtek, Maharashtra, India, 2015 from the series A Myth of Two Souls, 2013 - ongoing

'Lovebird', Ramtek, Maharashtra, India, 2015

Created by Vasantha Yogananthan in 2015. The artwork is a archival inkjet print on Canson Print Making Rag 310gsm and displayed at 81 x 64 cm.

For a full five years, Vasantha Yogananthan travelled through India and Nepal, in pursuit of the Hindu god Rama. His photos form a modern interpretation of the Ramayana, a Hinduist text that dates from approximately 300 BC. According to this epic, Rama was banished from his kingdom along with his wife Sita. They fled to the jungle, where Sita was kidnapped by the demon Ravana. In the end, Rama was able to defeat Ravana and free Sita. The artist was inspired by the story’s prominent presence in everyday life in India, and how it is constantly being rewritten. Note the precise moment at which this photo was taken: the comb has just been passed through Rama’s hair in a single, smooth motion, as we can see from the clean, straight rows it has left behind. While everything else in the photo is in sharp focus, the comb itself is only visible as a blurry stripe. The meditative moment in which Rama stares into the mirror contrasts with the speed of the movement embodied in the comb.

'Rama Combing His Hair', Ayodhya, Uttar Pradesh, India, 2015, from the series A Myth of Two Souls, 2013 - ongoing

'Rama Combing His Hair', Ayodhya, Uttar Pradesh, India, 2015

Created by Misha de Ridder in 2011. The artwork is Kodak Endura on dibond and displayed at 64 x 80 cm.

In Misha de Ridder’s enchanting landscapes, the viewer discovers the mesmerising beauty of pristine nature, as well as the vulnerability of human life in a rugged world. De Ridder searches out the absence of any human intervention and then waits for the climax of the transient, created particularly by the ever-changing light conditions. It is not just the massive mountain ranges that make an impression, but also the unique quality of light in the sub-arctic northern regions. We see a narrow band of light making its way toward snow-covered slopes, in the midst of a landscape shaded over by clouds. The photograph, 

 for which De Ridder travelled to northern Norway to document the extremes of nature. 

Brennfjell, 2011 from the series Solstice

Brennfjell, 2011

Created by Jack Davison in 2012. The artwork is mounted on PVC and displayed at 56 x 43 cm.

Compare this image to the work by photographers like Man Ray, Maurice Tabard or Daidō Moriyama. The immense variety of photographic styles is the starting point for Jack Davison’s diverse oeuvre. For example, inspired by surrealism, Davison likes to play with the boundaries between reality and illusion. Is this image the result of double exposure, is the model holding a mirror, or is Davison using photo montage? What this photograph actually shows remains unclear. Davison’s work is full of research and play, for which he constantly uses different cameras and techniques, styles and genres. What he enjoys are exactly the ‘unfamiliar’ and ‘uncontrollable’ elements of this approach. Davison is unafraid to mix styles and forms, producing images without getting trapped in any homogenous style. 

Untitled, 2012. London, UK from the series Personal Work, 2006-2016

Untitled, 2012. London, UK.

Created by Jack Davison in 2015. The artwork is mounted on PVC and displayed at 53 x 43 cm.

What is probably just a randomly composed street scene – a red traffic light with an advertisement banner in the background – is transformed by the dark context into an abstract composition in which the elements lose their original meaning. It gives 

 a collage-like appearance. In his work, photographer Jack Davison often draws on the historical canon of photography. This image is reminiscent of the abstract works created by iconic photographers like Ernst Haas or Saul Leiter. It is typical for Davison to use a wide variety of cameras. This particular photo was made with a Nikon D800, which is a digital mirror reflex camera. For other images he used for instance an analogue Mamiya RB67, a medium-format camera, and even an iPhone. 

Untitled, 2015. New York, USA from the series Personal work, 2006-2016

Untitled, 2015. New York, USA.

Created by Jack Davison in 2015. The artwork is mounted on PVC and displayed at 56,5 x 43 cm.

In this photograph, the subject’s back towers above us because of the low vantage point chosen by Jack Davison. The rain drops streaming down along the coat gain an almost dramatic quality, an effect reinforced by the lack of colour. The image therefore exudes a certain gloominess, even though we cannot see the face. Due to the minimalist composition and the choice for black-and-white, our eye is drawn to small details. See for instance the contrast between the wet and dry garment, the way the raindrops glisten as they slide down, and how the light falls across the creases in the coat. Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Untitled, 2015. Kelso, Scotland from the series Personal work, 2006-2016

Untitled, 2015. Kelso, Scotland.

Created by Jack Davison in 2016. The artwork is mounted on PVC and displayed at 51 x 43 cm.

What catches your eye when strolling through a city? Do you mainly look at people, or the traffic, or the buildings? As a self-taught photographer, Jack Davison started carrying a camera to photograph his surrounding from the age of 15. He learned about the history of photography and the many different genres and styles on the internet, which forms a permanent source of inspiration for his work. Although Davison shoots in both black-and-white and colour, his colour photographs are often dominated by bright and lively colours, combined with sharp contrasts between light and shade. In 

 the viewer is not only intrigued by the combination of colours and shaded areas, but also by the variety of shapes and textures.  

Untitled, 2016. Kerala, India from the series Personal work, 2006-2016

Untitled, 2016. Kerala, India. 2

Created by Jack Davison in 2016. The artwork is mounted on PVC and displayed at 43 x 43 cm.

Ever since he was young, Davison has had a strong interest in literature and art. Much of his work is inspired in one way or another by the historical canon of photography. Which genre or school might have inspired this image, 

? Due to the short distance between the camera lens and the model, the viewer is brought up very close to the subject’s skin: we can see the individual eyelash and eyebrow hairs, as well as the tiny capillaries on the eyelid. The prickly fruit clashes with the dreamy image of the closed eye and recalls the surrealist photography from the 1920s and 30s, for instance by Man Ray. This work was part of the exhibition 

, from which several works are included in the Foam collection.  Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Untitled, 2016. Kerala, India.

Created by Jack Davison in 2013. The artwork is mounted on PVC and displayed at 60 x 43 cm.

Can you imagine this image as a black-and-white photograph? In his work, Davison regularly refers to iconic works and styles from the early days of photography, when models would wear their very best clothes and a hat as well. The outspoken colours in this image – the lime green of the wall and the shirt’s lemon yellow – give the portrait a contemporary feel. The soft sunlight adds further warmth and throws a long shadow across the man’s face and the wall behind. The colours and the light infuse this portrait of a serious-looking man with a warm and gentle feeling. 

, which was the English photographer Jack Davison’s first project. During a six-month road trip across the United States, Davison made portraits as well as other images, both in colour and black-and-white. 

Untitled, 2013. New Orleans, USA from the series 26 States

Untitled, 2013. New Orleans, USA.

Created by Jack Davison in 2014. The artwork is mounted on PVC and displayed at 54,5 x 43 cm.

How does this photograph make you feel? Much of the work by the English photographer Jack Davison are aesthetical, autonomous images, such as this portrait of Agnes. Due to the short distance between the camera lens and the model and the tight framing of the image, the photograph exudes a sense of intimacy. Yet what stands out right away is the unique lighting. By placing a patterned screen between the model and the source of light, the face is covered by spots of light that seem to be mirrored by the dark sprouts on Agnes’ cheek and forehead. This interplay of light, combined with the unconventional perspective and the way the image was framed, creates a certain poetical abstraction. Davidson’s oeuvre is a journey through the history of photography, from avant-gardist experiments to objective documentation, and from early 20th-century portraiture to conceptual studies. 

Aggie, 2014. Kefalonia, Greece from the series Personal work, 2006-2016

Aggie, 2014. Kefalonia, Greece.

Created by Lucas Foglia in 2015. The artwork is a pigment print on Archival Epson Premium Semimatte paper and displayed at 86.4 x 111.8 cm.

How important is nature for human health? In his series 

, photographer Lucas Foglia examines the relationship between humans and the natural wilderness. He for instance follows a group of neuroscientists who are studying the soothing effects of being immersed in nature. The image of a sitting woman, clutching her knees, surrounded by an awe-inspiring landscape, while hooked up to a computer via electrodes in her head, create a science fiction-like atmosphere. This person is in fact participating in an actual study conducted by the University of Utah (US), in which researchers measure the participants’ brain activity while being exposed to different natural environments. The contrast between the high-tech equipment to which participant Kate is attached and the vast wilderness in the background create a visual tension. Perhaps Foglia wants to emphasise how far-removed humans have become from their natural environment?

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015 from the series Human Nature

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015

, photographer Lucas Foglia examines the relationship between humans and the natural wilderness, starting from the observation that the average American spends 93% of time indoors, while climate change is severely impacting our life environment and food security. As extreme weather conditions are forcing farmers to protect their crops, this photograph shows a brightly coloured orange, surrounded by luscious green, all covered in ice. It is an almost surrealistic image, since growing oranges is generally associated with a warm and sunny climate. Using ice is however a tried and tested method applied by farmers in California to protect their oranges against the cold – however paradoxical that may seem. 

Ice to Protect Orange Trees from the Cold, California, 2015 from the series Human Nature

Ice to Protect Orange Trees from the Cold, California 2015

Ice to Protect Orange Trees from the Cold, California, 2015

Created by Lucas Foglia in 2013. The artwork is a pigment print on Archival Epson Premium Semimatte paper and displayed at 86.4 x 111.8 cm.

Due to the growing impact of climate change, farmers must increasingly cope with drought, heat waves and frost. But the current agricultural crops are not resistant to these extreme weather conditions. This photograph by the American photographer Lucas Foglia shows a greenhouse in which scientists experiment with growing new and hardier variants. Foglia has chosen to photograph the greenhouse from the outside. All the viewer sees are the shadows cast by some of the plants, surrounded by a soft orange glow that forms a sharp contrast with the cool blue of the sky outside. This use of colour, shadow and perspective reinforces the sense of uncertainty that now besets the future of agriculture. The series 

, to which this image belongs, is a series of interlocking stories about our relationship to the wilderness.  

New Crop Varieties for Extreme Weather, Geneva Greenhouses, New York State Agricultural Experiment Station, New York, 2013 form the series Human Nature

New Crop Varieties for Extreme Weather, Geneva Greenhouses, New York State Agricultural Experiment Station, New York 2013

Created by Kadara Enyeasi in 2016. The artwork is displayed at 100 x 100 cm.

When creating a composition, the choice of which elements to position next to or above each other – that is, the juxtaposition of elements – is crucial. This is what enables the artist to explore how different parts interact and to highlight contrasts or similarities. What strikes you about the background in this work by Kadara Enyeasi? In this collage, Enyeasi has placed two black-and-white portraits on a graphic framework with colour fields and text. The photographs have been taken from their original context and in that way have been reinterpreted. The artist smoothly combines different art disciplines to create an intriguing and aesthetically pleasing image. Drawing on both the geometrical principles of modernism and African textile design, Enyeasi blends together European and African art forms in a playful yet critical manner.

Wo èyìn wò (Watch Your Back), 2016 from the series Scenario I: After L’Ouverture, 2016

Wo èyìn wò (Watch Your Back)

What strikes you about this experimental collage portrait by the Nigerian photographer Kadara Enyeasi? It might be the large graphic letters, or it is the leafy branch suspended from the subject’s ear? The subject, portrayed ‘en profil’, is mirrored in the background. This double portrait is surrounded by various coloured and checkered areas, reminiscent of the graphic patterns of African textile designs. The graphic elements also refer to the principles of the modernists, such as the architect Le Corbusier, known for his minimalist and formalist designs. The ambivalent references to both African and western traditions are inspired by the ‘Arodan’ principle: a Yoruba custom of keeping children occupied and out of the way by sending them in search of something that doesn’t exist. The hidden message in Enyeasi’s work is humorous and desperate in equal measure: the dressed-up men hurtling through the image embody a complaint against the anti-homosexual laws of the artist’s home country of Nigeria.    

anne-de-vries

Anne de Vries

Next Level

The Birdnest, 2014

The Hair, 2014

Kawa, 2017

The Portrait of an Apsara, 2017

The Indra Reincarnation, 2017

Damien, 2015

'Boy Playing Girl', Janakpur, Nepal, 2016

'Lovebird', Ramtek, Maharashtra, India, 2015

'Rama Combing His Hair', Ayodhya, Uttar Pradesh, India, 2015

Brennfjell, 2011

Untitled, 2012. London, UK.

Untitled, 2015. New York, USA.

Untitled, 2015. Kelso, Scotland.

Untitled, 2016. Kerala, India.

Untitled, 2016. Kerala, India.

Untitled, 2013. New Orleans, USA.

Aggie, 2014. Kefalonia, Greece.

Kate in an EEG Study of Cognition in the Wild, Strayer Lab, University of Utah, Utah 2015

Ice to Protect Orange Trees from the Cold, California 2015

New Crop Varieties for Extreme Weather, Geneva Greenhouses, New York State Agricultural Experiment Station, New York 2013

Wo èyìn wò (Watch Your Back)

Abetí ajá (Dog Eared Cap)