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Created by Manon Wertenbroek in 2014. The artwork is a pigment print on Hahnemuhle Fine Art 285gr, on aluminum, on wood, and with paint, and displayed at 90.5 x 72 cm.

Waves from the Web, 2009

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The bright colours and cartoon-like drawings on the model’s body create a playful image. At the same time, the model’s elegant posture might remind you of a classic sculpture from the Renaissance era. In 

, Manon Wertenbroek combines the art of sculpture with the medium of photography. By incorporating the model into all sorts of compositions of colours, circles, blocks, numbers and frames, Wertenbroek explores a rather unconventional approach to portraiture. The young man in the photograph is her brother. They were very close as children, but grew apart as they grew older. Creating this series was a way for Wertenbroek to restore the bond with her brother. Yet her brother cannot recognise himself in the portraits, so that these represent her own projections rather than his actual self. 

Manon Wertenbroek was part of the 2015 Foam Talent selection. Her image 

 served as the cover image for the talent issue of Foam Magazine. 

Tandem Rose, 2014 from the series Tandem, 2014

Tandem Rose, 2014

Maldoror #6, 2014

Jean-Vincent Simonet

Created by Jean-Vincent Simonet in 2014. The artwork is an inkjet print and displayed at 90 x 120 cm.

When Jean-Vincent Simonet chanced upon the book 

 (The Songs of Maldoror), he felt hugely attracted to its dark, theatrical, repulsive character. This avant-garde book, written in 1869 by the French poet Comte de Lautréamont, is an ode to the rebelliousness of youth, blasphemy, and the triumph of dreams over reality. Simonet decided to breathe new life into this literary mystery. His photographs are based on the atmosphere conjured up in the book: gothic angels framed against an overwhelming and digitally enhanced blue starry sky; dead branches that melt into pink and blue shapes and call to mind plucks of hair. The eclectic style inspired Simonet to use both analogue and digital photography, applying digital techniques to distort and blend together photographs. As a result, the book’s mysterious atmosphere becomes palpable in the images. It will likely not come as a surprise to learn that this book was once banned on account of its blasphemous character. 

Maldoror #2, 2014 from the series Maldoror, 2014

Maldoror #2

Created by Lucas Foglia in 2010. The artwork is a pigment print on Archival Epson Premium Semimatte paper and displayed at 86.4 x 111.8 cm.

What story do you think photographer Lucas Foglia wanted to tell with the image, 

? The title of course contains a hint: a woman named Amanda is dousing herself with a garden hose, apparently after a birthday party has taken place. Her clothes and hair are already soaked, suggesting she has stood like this for some time. Her closed eyes and facial expression appear to express a sense of contentment. Would the water be a welcome cooling shower on a hot day? Take your time to again look closely at this portrait of Amanda, paying particular attention to the background, which seems to reinforce the mood of serenity. In his series 

, of which this photograph is a part, Foglia in fact portrays the harsh reality of ranchers’ lives in the western United States: long working days, and a permanent struggle with drought and ever-encroaching mining industries. The portrait of Amanda captures the romantic notion that outsiders often have when thinking about life on a farm surrounded by nature.  

Amanda after a Birthday Party, Jackson Wyoming, 2010 from the series Frontcountry, 2009-2013

Amanda after a Birthday Party, Jackson Wyoming, 2010

Created by Alessandro Imbriaco. The artwork is a c-print and displayed at 40 x 30 cm.

Half hidden in the greenery of a small forgotten marsh somewhere on the outskirts of Rome, Italy, stands a woman named Luba. Her face, only just visible in the soft light of dusk, looks directly at the camera. For his series 

, photographer Alessandro Imbriaco visited this hidden spot at the periphery of one of Europe’s most visited cities. Due to a lack of housing, like so many migrants the Russian Luba and her Italian husband Piero were forced to build a life in all sorts of unconventional locations, for example hidden beneath flyovers and in narrow alleyways. Note how the leaves in the foreground seem to frame Luba’s portrait and create a sense of depth: as if the shrub forms a protective layer between her and the world around.  

, the Italian photographer Alessandro Imbriaco was selected for Foam Talent 2011. The story about Angela’s family’s life was shown as part of the group exhibition and in Foam Magazine #28 Talent. 

Luba from the series Angela's Garden

Luba

, photographer Alessandro Imbriaco seamlessly combines the portrait genre with documentary photography. In this image, traditional portrait photography techniques stand out: the subject is placed at the centre of the image, with the body turned slightly to the right while the head turns back to face the camera. At the same time, Imbriaco creates a somewhat mysterious atmosphere by the poor quality of light that gently falls on her rosy cheeks. This mood is enhanced by the background: dark and wild shrubbery surrounds the timid-looking girl, named Angela. The portrait hides the dire reality of migrants leading a concealed and isolated life in a marshy area at the edge of Rome, Italy. Imbriaco’s comment on this work: “

The colours are interesting and muted, like a Garden of Eden where everything has gone wrong.

Angela from the series Angela's Garden

Angela

Untitled, from the series The Afronauts, 2012

Cristina de Middel

Created by Cristina de Middel as part of 

What if Zambia had put the first person on the moon instead of the United States? The launch of a Zambian space flight programme during the heyday of the international space race in the 1960s forms the starting point of Cristina De Middel’s series 

. In this series, the photographer creates a fantasy world in which fact and fiction intermingle, and the Western stereotypical perception of the African continent is questioned. By alternating staged scenes with copies of typed letters and reproductions of vintage photographs, the true and the fake are woven together. In this archived letter, the Zambian Ministry of Technology is enquiring about the funding of the space programme. In the end, the programme was discontinued for lack of funding.  

Untitled from the series The Afronauts

Created by Cristina De Middel. The artwork is an inkjet print on cotton paper and displayed at 50 x 50 cm.

Documentary and journalistic photography are often viewed as the most true-to-life forms of photography, with the created images serving as representations of reality itself. Yet a photograph never tells a purely objective story, even without any staging or editing. Every image tells a story through the photographer’s eyes, and this personal angle always infuses the image with a subtle subjective character. In 

, photographer Cristina de Middel plays with the promise of ‘truth’ suggested by the medium of photography. Based on historical fact, De Middel uses her imagination to recreate the cancelled space flight programme launched by Zambia in the 1960s. On the photograph 

, the viewer’s attention is drawn to a patch of white stone surrounded by a darker hillside, resembling part of a skull. This image could well be a faithful documentation of a natural phenomenon, but as a part of the series it nevertheless provokes the question whether it is truly so. 

Gwendalu

Created by Cristina De Middel. The artwork is a inkjet print on cotton paper and displayed at 50 x 50 cm.

 marked the start of a new direction in the work of journalistic photographer Cristina de Middel. As a reaction to the one-sided Western coverage of the African continent with its stereotypical narratives about poverty and conflict, De Middel found inspiration in a true story from Zambia’s recent history. In 1964 the country launched an ambitious space flight programme to compete in the international space race. In 

, De Middel portrays a fictitious end to this true historical story, through which she also questions the established photo journalistic sector. In 

, De Middel captures a deserted otherworldly landscape with a solitary drifting cloud. In fact shot in Alicante, Spain, this photograph shows the surrealistic and mysterious atmosphere that De Middel uses to convey her message. 

Pulula

Self portrait Sara Cwynar

In her work, Sara Cwynar explores, like an anthropologist of our contemporary economy of endless choice, what the products, colours and images are with which we constantly shape our lives and identities and how they change over time. 

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Sara Cwynar

Created by Sara Cwynar in 2015. The artwork is a c-print and displayed at 88 x 72 cm.

A range of colourful items floods the image from below, cluttering the otherwise anonymous space. The objects are carefully composed as a still-life – originally a painting genre that shows arrangements of inanimate objects, flower bouquets or food. Here, on closer inspection, the viewer notices a pattern in the seemingly random collection: whether it is the picture of the moon, a plastic hamburger, or an alarm clock, all items are circular. In this work, artist Sara Cwynar does not just capture the sentiment of a time gone by, but also makes the viewer aware of the amusing fact that certain shapes have become part of our modern-day society. 

, reflecting her obsession with collecting and organising visual materials. In her work, she rearranges the everyday objects and materials she has collected over the years, to create images that represent her own visualisation of the times we live in. 

Circles, 2015 from the series Everything in the studio (destroyed)

Circles, 2015

Created by Sara Cwynar in 2011. The artwork is a c-print and displayed at 27 x 22 cm.

One of the remarkable aspects of Cwynar’s work is her use of light. Light places an important role in photography and can change the appearance and mood of a scene. Notice how the light source casts a shadow of the flower-filled box, replicating its distorted dimensions on the back wall. Can you figure out from which direction the light is coming? 

 is part of a larger series in which Sara Cwynar experiments with different compositions of everyday objects and materials that she collected and stored in her studio over the years. The softness of the white and pink roses at the bottom transitions into violet and vibrant blues at the top, creating a soothing and calming effect. 

Flower Grandient, 2011 from the series Everything in the studio (destroyed)

Flower Grandient, 2011

Created by Sara Cwynar in 2012. The artwork is a c-print and displayed at 37 x 30 cm.

Collages are a returning photographic approach in Sara Cwynar’s artistic practice. Combining existing objects and artifacts into a new visual assembly, Cwynar plays with the meaning and role that visual materials play in contemporary society. She collects everyday items, once produced for a certain purpose, and recombines them in order to take control of the narrative. Why do people collect things? How do these items interact with our memories? Through this exploration, Cwynar reflects on how images and objects construct our experiences – and the world around us. 

 was part of Sara Cwynar’s first solo-exhibition, 

Studio Pile, 2012 from the series Everything in the studio (destroyed)

Studio Pile, 2012

Untitled, from the series Kazan, 2009-2011

Mayumi Hosokura

Created by Mayumi Hosokura. The artwork is a c-print and displayed at 35.5 x 26 cm.

What strikes you about the shapes captured by this photograph? The moss-covered tree trunk is pictured from an angle that makes the branches radiate outwards like sunrays. The tree trunk is precisely at the centre, like the hub of a wheel. In her 

 series, Japanese artist Mayumi Hosokura applies a certain aesthetic that infuses her images with a dreamy, mysterious atmosphere, contributing to the poetic character of the series. Besides using soft and diffuse light, Hosokura’s images are often monochromatic, with a subtle palette of pastel shades and tones of grey. This subdued use of colour accentuates the focus on texture and shape, and imbues the photographs with a sense of fragile beauty. 

Mayumi Hosokura was one of the artists selected for Foam Talent 2011. Her series 

 was presented in Foam Magazine #28 Talent Issue and the accompanying talent exhibition. 

Untitled from the series Kazan

Untitled 5 from the series Kazan

A photograph is able to capture unguarded moments that would otherwise pass by unnoticed. In this image by Mayumi Hosokura from her series 

, a naked woman sits on the backseat of a car. She seems lost in thought, gazing upwards absentmindedly. The speed of the moving car distorts the background landscape into a blur, and the light as it flickers between the trees is reflected on the car window. The peace of the scene inside the car forms a vivid contrast to what is happening outside. In her series, the Japanese artist plays with the idea that photography can stop the passage of time, so that people and landscapes preserve their beauty for ever. Instead of suggesting a certain meaning, Hosokura seems to stimulate the viewer to use their own imagination.   

Untitled 3 from the series Kazan

Untitled, from the series Best Before End, 2011-2013

Stephen Gill 

Created by Stephen Gill. The artwork is a pigment print on Canson Platine Fiber Rag and displayed at 78,6 x 60,8 cm.

What do you experience when you look at the colours and textures in this photograph? Since there is no clear subject, the viewer is drawn into an interplay of warm colours and abstract shapes. Instead of telling a story, this photograph seems intended to convey a feeling. 

, in which Gill attempts to visualise the intensity of urban life in the London borough of Hackney. For this series, artist Stephen Gill experimented with the photographic process by soaking the negatives in energy drink. The result is a dreamy image, where virtually all traces of the original image have disappeared. 

 is like a visual poem, in which the message lies beneath the surface.  

 was introduced to the public during Foam’s first major retrospective devoted to the English photographer Stephen Gill.  In addition to 

, the exhibition showed work from his series 

Untitled from the series Best Before End

Untitled 3 from the series Best Before End

In analogue photography, a ‘negative’ image (in which the colours are inverted) is converted in the dark room into a so-called positive image, which is the resulting photograph. This is a technical procedure that requires a series of steps. Artist Stephen Gill likes to play with this process by introducing different steps. For his series 

, he does so by submerging the negative in energy drink. This not only causes a beautiful colour palette to emerge on the photo-negative, but also allows Gill to distort the photo. The sweet drink causes the light-sensitive layer of the photo film to let go, after which Gill can manipulate it with a fine brush. In this case, the process has resulted in an almost spooky portrait with unique colours and a fascinating texture. The final image is a photograph of the manipulated negative.  

Untitled 2 from the series Best Before End

After having documented the London district of Hackney for fourteen years, artist Stephen Gill felt that there was something lacking in his work. How can you capture the intensity of busy city life in an image? By experimenting with the process of making as well as of printing his analogue photographs, he found new ways to capture this feeling in images. For example, in his series 

 Gill experimented with energy drink: by letting the negatives soak in the sweet fluid for a while, the light-sensitive layer of the film softened. The result is an abstract image with wonderfully warm colours, as this picture shows. What feelings does this photograph evoke in you?  

 was introduced to the public during Foam’s first major retrospective devoted to the English photographer Stephen Gill. In addition to 

Untitled 1 from the series Best Before End

Created by Stephen Gill. The artwork is a pigment print on Canson Platine Fiber Rag and displayed at 111,76 x 111,76 cm.

What innovative approaches do photographers take towards the medium? Numerous artists like to experiment with photographic techniques in order to transcend the limitations of the medium and thereby to push its boundaries. 

, by the English artist Stephen Gill. By combining different perspectives – such as large versus small, far away versus nearby – Gill plays with the scale of the subjects of his photographs. Adding a measuring tape further enhances this effect by suggesting that the branches in the background are similar in size to the woodlouse in the corner. By highlighting details, Gill invites the viewer to reflect on the relationship between humans and nature and how other organisms understand the world around. 

Untitled from the series Talking to Ants

Untitled 2 from the series Talking to Ants

Look at this work for ten seconds – what strikes you most? The river landscape, the smiling girl, or perhaps the abstract shapes in the foreground? Stephen Gill’s work requires time to sink in. By layering multiple negatives while printing photographs, a collage of different images results.  

But another layer lies across the serene landscape and smiling girl: abstract shapes that resemble the things you see through a microscope. These traces are the result of objects that Gill deliberately places inside his camera, prior to taking photographs. In this way he attempts to create confusion in the scale relations between the different images. This unique approach emphasises the refined and disquieting beauty of Gill’s photography, in which every detail is cast in a new light, in surprising ways. 

Untitled 1 from the series Talking to Ants

Raimond Wouda

Created by Raimond Wouda. The artwork is a c-print on dibond and displayed at 180 x 220 cm.

Lunch break at Tabor primary school in Hoorn, and pupils quickly fill the central hall. Groups pounce on tables, where they examine each other’s lunchboxes while sharing the latest bits of gossip.  

This is the ambiance that the Dutch photographer Raimond Wouda manages to capture in his series on schools in the Netherlands. His photographs not only give insight into pupils’ behaviour, from group formation to clothing style, but also serve as a demographic map of the surrounding area. Given how easily distracted children are, it is remarkable how oblivious they seem to the photographer. This is why Wouda’s series 

 offers such a pure depiction of young people in school. This lively photograph of the hall forms a striking contrast to the static school portraits made every year. 

Comprehensive School Tabor I, Hoorn from the series School

Scholengemeenschap Tabor I, Hoorn

Bouquet V, 2008

Scheltens & Abbenes

Created by Maurice Scheltens & Liesbeth Abbenes in 2011. The artwork is a c-print on aluminum and displayed at 57 x 41 cm.

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Maurice Scheltens & Liesbeth Abbenes, 2011

Do you recognise the objects used in this photograph? By playing with the vantage point and lighting, objects can be photographed in such a way that they are barely distinguishable any more. This is precisely what the artists Maurice Scheltens & Liesbeth Abbenes set out to do in their series 

, creating a refreshing perspective on a furniture collection made by Arper, a company based in Treviso, Italy.  

 seems a fairly straightforward photograph at first. However, the suggestion of a two-dimensional reality is in fact a remarkable and original depiction of depth and scale. By playing with perspective and shadows, the geometrical shapes of Arper’s tables are highlighted. As a result, the furniture pieces transcend their function as an object for use, instead becoming abstract compositions that invite the viewer to discover anew their form and structure. 

Arper Tables 5/14 (2011) from the series Arper, Tables

Arper, Tables 5/14 (2011)

What stands out in this image is the absence of any shadow. To achieve this effect, the light source must be located straight above this collection of tables. Unlike in situations with natural light, in studios photographers can position the light source precisely where they want it to be to achieve certain effects. Through the high vantage point and the absence of shadows, all sense of depth disappears from the photograph, turning the three-dimensional tables into a seemingly flat, two-dimensional image. 

The result is a minimalist and aesthetic image in which the tight composition of white-coloured furniture contrasts sharply with the grey underground. This approach stresses the forms and lines of the objects, without any distracting shadows, creating an almost abstract image. On closer look, underneath a few tabletops, a glimpse of the underlying trestles is visible, reenforcing the threedimensionality of the objects. 

Arper chairs 1/8 (2011) from the series Arper, Chairs

Arper, Tables 2/14 (2011)

#14 from the series Sun Set, 2011

Fleur van Dodewaard

Created by Fleur van Dodewaard. The artwork is an inkjet print on aluminum and displayed at 50 x 37.5 cm.

What does this photograph remind you of?  

Dutch artist Fleur van Dodewaard’s work is all about questioning the way we look at art objects and at the creative process. In her 

, Van Dodewaard offers a unique interpretation of a subject often considered a cliché in the world of photography: the setting sun. 

The yellow reflection in the round mirror serves on the one hand as a minimalist representation of the sun, while it allows the artist to play with the idea of photography as an illusory medium on the other. A mirror always shows something other than itself, namely what it reflects. In this way the artist encourages the viewer to think again about what they really see.  

Apart from presenting her work in the group exhibitions 

. In an interview Van Dodewaard describes how this series came to be. 

#567 from the series Sun Set Series

#567

Sunset may well be one of the most photographed moments ever. The changing colours of the sky, from bright orange to gentle hues of purple when the sun has almost slipped behind the horizon, are admired and recorded by countless people around the world, every day again. What do the colours of a sunset arouse in you? 

 presents a new perspective on the cliché image of a sunset within the world of photography. It consists of a series of images in which artist Fleur van Dodewaard repeatedly shows the different colours created by a sunset in the reflection of a circle-shaped mirror. The result is an abstract and minimalist interpretation of a setting sun, as demonstrated by 

#5 from the series Sun Set Series

Uta Eisenreich

Created by Uta Eisenreich in 2010. The artwork is a c-print and displayed at 39 x 27 cm.

Appearances deceive in this serene still-life of everyday items. Because of the refraction of light as it passes from air to water, optically the knife appears broken just beneath the surface. But upon closer inspection we see that the blade of the knife is indeed broken, extending onto the tabletop. The appearance of the pear also gives rise to doubt: the colour and shine of the half that lies further away is also suggestive of an apple. 

, artist Uta Eisenreich plays with the tendency of the human brain to discover logic and order in what it observes. By subtly creating this visual confusion, she confounds the attempt to logically explain what we see and encourages us to look again.  

Cutting Edge, 2010 from the series A not B

Cutting Edge, 2010

Krista van der Niet

Created by Krista van der Niet in 2008. The artwork is a c-print and displayed at 30 x 40 cm.

In this playful interpretation of the classic still-life genre, Dutch photographer Krista van Niet addresses societal themes in a seemingly humorous manner. Fruit has always been a much-used theme in this genre: it refers for instance to the transience of life. Van der Niet quite literally dresses up her fruit in contemporary garb: various fruits are shown packed in a translucent panty, set within a neutral space.  

Van der Niet’s work is recognisable for her use of light-hearted and aesthetical images to question basic societal assumptions. In 

 she explores the boundary line between human and object, addressing themes of vulnerability and femininity. The skin-coloured panty forms a visual metaphor for the strictly defined models that women are often expected to conform to in today’s society. 

 exhibition in 2011, where contemporary photographers presented a modern take on the still-life genre. 

Fruit

Fruit, 2008

Raphaël Dallaporta

Created by Raphaël Dallaporta in 2010. The artwork is a dye destruction print process of an original ektachrome slide, Ilfochrome print by Choï in Paris and displayed at 150 x 120 cm.

Both death and the human anatomy are frequently occurring themes in art. How can you document something as sensitive as death? In contrast to the grief and horrors often associated with death, the French artist Raphaël Dallaporta treats the death of a person with the same businesslike approach as doctor Tulp in Rembrandt’s famous painting, 

, Dallaporta worked with a team of forensic physicians to determine the cause of death. Blood shows a drop of blood against a black background, but also resembles the image of an eye’s pupil and iris. The result is a purely rational image of death, without any of the customary emotions. 

Blood from the series Fragile, Humours

Blood

Misha de Ridder

Created by Misha de Ridder. The artwork is a c-print on Kodak Endura, glued on 4mm dibond and displayed at 180 x 225 cm.

How does sunlight affect colour in a photograph? This picture by Misha de Ridder is dominated by a single colour: green. The long shadows cast across the irregular landscape suggest the photo was taken when the sun was low on the horizon. This raking light adds a warm, almost golden hue to the green gras. Take a moment to carefully examine the background, too. The vague contours of a bald mountain can be made out in the dark. 

 series, for which the photographer travelled to the north of Norway. With his photographs, De Ridder investigates the arctic landscape and polar light from both an artistic and scientific viewpoint. The absence of vegetation on the dark rock of the mountains in this region contrast vividly with the illuminated green grassland, resulting in an almost abstract landscape image. What would have happened with the contrast and abstract quality of the photograph if it had been made at another time of the day?  

Trollvassbu from the series Solstice, 2012

Trollvassbu

Charlotte Dumas

Created by Charlotte Dumas in 2005. The artwork is a c-print on aluminum and displayed at 85 x 105 cm.

All the attention is drawn to the wolves’ posture and the softness and colour shading of their fur. In her series 

, Charlotte Dumas displays her unique perspective on the relationship between humans and animals. Her style diverges strongly from other and more familiar types of animal photography, for instance as displayed in the famous magazine 

. Instead of focusing on the sensational, Dumas tries to capture intimate scenes. This composition centres on a pack of wolves, apparently not bothered by the photographer’s presence. The timeless and intimate character of her portraits results from the close bond that Dumas manages to build with the animals by staying in their vicinity for a long time. The angle of light, the animals’ pose, and the image’s framing were carefully chosen to enhance the sense of serenity. 

Zonder Titel (Resting) from the series Reverie

Untitled (Resting), 2005

Exercise #03 from the series Exercise

Vincent Zedelius

Created by Vincent Zedelius in 2004. The artwork is a c-print mounted on MDF coated with epoxy and displayed at 90 x 70 cm.

As the title suggests, the images for this series served as a training exercise for Vincent Zedelius, enabling him to improve his photographic eye. 

 shows the interior of an old carpentry and furniture school. The rectangular shapes on the ground and the wall, in combination with the desk and piece of paper create a pleasant geometry. However, the clean surfaces and the centred lighting also add a slightly mysterious feel. The peel of the tangerine disturbs the scene and enhances the uncanniness. Aside from the peel, there is little to suggest the building is still in use. 

Throughout his work, Zedelius displays an interest in environments where only traces of human presence can be found and the tension this creates. In 2006, Zedelius’s series 

Exercise #03

Untitled (Zebra 01), from the series The Mounted Life, 2007

Daniëlle van Ark

Created by Daniëlle van Ark in 2005-2007. The artwork is a c-print on aluminum and displayed at 60 x 75 cm.

Look at the different emotions expressed by the subjects in this photo! The two portrayed women do not see each other, divided by a gallery wall, yet the viewer gets a simultaneous glimpse of their facial expressions. Their emotional juxtaposition is reminiscent of the comedy and tragedy masks that symbolise the theatre. Over the course of a year, Daniëlle van Ark visited gallery openings in the New York art district, Chelsea. The resulting series, 

, offers a peek into the exclusive circles of the art scene. Van Ark’s images reveal the human tendency to perform different roles in social settings, conforming to the strict norms of high-brow art spaces.  With a sociological approach, van Ark observes the scene and captures its peculiarities within a split-second. 

 reflects Van Ark's fascination with concepts of status and with places that are normally off-limits to the general public. 

Untitled (Smile, No Smile) from the series For Art's Sake

Untitled (Smile, No Smile)

Mahler IV

Gerco de Ruijter

Created by Gerco de Ruijter in 2003. The artwork is a c-print on aluminum and displayed at 50 x 50 cm.

Today one might think that this image was taken with the help of a drone. However, back in 2003, drones weren’t all that common. Instead, the Dutch photographer Gerco de Ruijter attached an analogue camera to a kite to get a bird's-eye view of the construction site. De Ruijter’s artistic practice is characterised by his use of unique perspectives, allowing him to search for patterns from the sky to create abstract representations of the landscape. The geometric shapes in the image consist of areas from the building site in different stages of construction, giving the image a mosaic-like feel. 

In the early 2000s, several photographers were invited to capture the construction of the financial district of Amsterdam (Zuidas). 

 belongs to a series that presents Gerco de Ruijter’s interpretation of this project. 

Lightning Storm Flare from the series Experimental Lake

artworks

Guillaume Simoneau

 in 2015. The artwork is a digital pigment print. It explores themes as 

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

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