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| In recent years we have seen a large increase in hybrid forms of art. Thus, photography can be used by artists who do not consider themselves strictly as photographers, and traditionally educated photographers combine photographic work with painting, video art, sculpture and installation, whether their own work or not. A result is that customary designations such as ‘painter’, ‘photographer’ or ‘sculptor’ are slowly but surely coming under pressure and increasingly belonging to the past. An increasing number of artists within the newest generation are no longer concerned about which label gets placed on them, within which tradition they fit or which conventions they should comply. The result is a welcome sort of anarchy and non-conformity, as well as a clear-cut focus on subjects which are relevant for them at the time. An example of such work are the series entitled ‘Density Drawings’ and ‘Parallel Planes’ made by Dutch artist Katja Mater, created by capturing various moments in the creation process of a drawing and by using multiple exposures to fuse these into one single negative. The final photo is a non-manipulated account of the process, though not an accurate visual rendering of the actual drawing. The photograph in this context becomes a remarkably unreliable object: is it an image, a drawing, a sculpture, a performance, or a hybrid? Is it documentation or a primary object? Marcel Feil, Foam Museum, Amsterdam |
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