DRIES  SEGERS

PROJECTS

__143 folds

 

__never, nowhere

 

__hits of sunshine

 

__burn our wings

 

__etudes autrales

 

__portrait memory

 

__undecided photographs

 

__(kelvin)

 

__black body ()

___seeing a rainbow
     (through a window that isn't there)

__(selected images)

__(book)

 

__a vale of desolation

 

__what is behind that curtain

 

 

 

 

 

 

 

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left: mosselbalken, 2018, Bram De Jonghe

right: killer, 2018, 50x70, UV-print on mat plexi directly on wood

Part of the work was started on a residency program in Isola Comacina (Italy) supported by the Flemish Government

vulcano, 2018
50x70, UV-print on mat plexi directly on wood

In 'burn our wings' i made use of the anthotype process to contactprint images using ink sensitive to light out distillated out of plants, weeds and flowers. It was a search through seasons, forests and layers of the earth to find the right plant for the right purpose.

 

The anthotypes got lightened for months by natural light until the photographs showed itself onto the paper. When the work was exhibited the images slowly destroy themselves by the light that made them visible.

 

In october 1833 Henry Fox Talbot wrote about the desire to invent a process which could fixate optical images. It was only in 1839 that this act succeeded. In the meanwhile all photographic images disappeared by the light that constructed them.

killer, 2018
50x70, UV-print on mat plexi directly on wood

exhibitionview 'to take leave' duoshow with Bram De Jonghe at DMW artspace

left: silent prayers, 2018  right: new skin, 2018
28,5x40cm, silkscreen with charcoal, nettle, beetroot and pokeweed

private isle, 2018
50x70cm, silkscreen with charcoal, elderberries and lilies of the valley

'to take leave', duoshow w/ Bram De Jonghe, DMW - artspace, Antwerp

flag, 2018
28,5x40cm, Anthotype with platbased ink (poppyflower)

the chain, 2018
30x50cm, UV-print on mat plexi directly on wood