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World of
Ruud Van Empel
Ruud Van Empel
Dutch photographer Ruud van Empel's work initially stands out out because of his models, the majority of whom are black children. Since the artist grew up in a small and rather homogeneously white southern Dutch town, it seems unlikely that this simply occurred by chance. But it wasn't just the race factor in his World series that got us interested in asking Van Empel some questions about his models. There was something odd about the entire style, demeanor and surroundings.
Almost all of the children are exquisitely groomed in what looks like Dutch middle-class attire from the 60s and surrounded by an almost perfect scene of tropical nature; quite a wondrous contrast in itself. On top of that, all these different forests seem to breathe a peculiar sort of ambiance. Perfectly ordered yet sinister, the lakes, trees and leafs are inviting and foreboding at the same time. The children don't seem to be intimidated by it, though. They look at you with eyes wide open. Bold. Innocent. Confident.
But there's something uncanny about their look. Their innocence seems tainted. The reason for this oddness, we soon find out, is because we are looking in the eyes of people who don't exist and never have. Instead, they are photoshopped into being through a patchwork of noses, arms, eyes and lips.
This is how the artist goes about creating these images: First he collects all the features he needs by shooting a variety of young models in his studio and by subsequently wandering through Dutch forests, in search of fine leaves, perfect branches and the right waters. Only to tear it apart and spend weeks reconstructing it all until both the person and the setting match his desired standard of photo-realism.
But there's something uncanny about their look. Their innocence seems tainted. The reason for this oddness, we soon find out, is because we are looking in the eyes of people who don't exist and never have. Instead, they are photoshopped into being through a patchwork of noses, arms, eyes and lips.
This is how the artist goes about creating these images: First he collects all the features he needs by shooting a variety of young models in his studio and by subsequently wandering through Dutch forests, in search of fine leaves, perfect branches and the right waters. Only to tear it apart and spend weeks reconstructing it all until both the person and the setting match his desired standard of photo-realism.
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The fact that many of the children in his compositions have a dark skin is a facet that cannot remain without comment. Although it is self-evident that a child's skin colour is not important, the iconography of the innocent child was traditionally represented by 'white' children. The earliest examples of this date from the early 17th century. These are portraits in which children are captured in an idealised, pastoral setting. It is a genre to which the children's portraits of the German artist Otto Dix, a source of inspiration to Van Empel, refer. In deviating from the standard iconography by giving the child a dark skin, Van Empel inadvertently assumes a political stance. After all, this child is still the focus of discrimination and its innocence is not recognised by everyone as being self-evident.
Van Empel calls this digital collage. If we are to believe Elton John, who as a fan even dedicated a song to Van Empel during a concert, his techniques represent what much of modern photography will grow into in the 21st century. His work also deeply impressed the director of San Diego's Museum of Photographic Art, Deborah Klochko.
Having worked on it since he graduated from the Sint Joost Academy of Fine Arts in Breda in 1981, Van Empel's style of magic realism did not develop overnight, nor did it take off easily in the Netherlands. Outside of the confines of the Lowlands, however, his work found widespread appreciation. In the last 10 years, he has exhibited around the world, including in Bejing, Barcelona, Tokyo, Seoul, Tel Aviv and New York City. The United States proved to be a particularly keen admirer. So we decided to ask him some questions about his art.
Having worked on it since he graduated from the Sint Joost Academy of Fine Arts in Breda in 1981, Van Empel's style of magic realism did not develop overnight, nor did it take off easily in the Netherlands. Outside of the confines of the Lowlands, however, his work found widespread appreciation. In the last 10 years, he has exhibited around the world, including in Bejing, Barcelona, Tokyo, Seoul, Tel Aviv and New York City. The United States proved to be a particularly keen admirer. So we decided to ask him some questions about his art.