HENDRIKA TER ELST
FARM/KITCHEN (2020)
FARM/KITCHEN (2020)

Cyanotype on fabric 11 x 14 in. | Print 3 of 12 | $350

FARM/CLOSET (2020)
FARM/CLOSET (2020)

Cyanotype on fabric 11 x 14 in. | Print 1 of 12 | $350

BOODLE HOLE/FULL MOON (2020)
BOODLE HOLE/FULL MOON (2020)

Cyanotype on fabric 11 x 14 in. | Print 1 of 12 | $350

FARM/KITCHEN (2020)
FARM/KITCHEN (2020)

Cyanotype on fabric 11 x 14 in. | Print 3 of 12 | $350

ARTIST STATEMENT:

'A POEM OF QUIET'

This series travels from memories of the farm I grew up on in the Netherlands to the beauty of the Hudson Valley. The indoor images are of a place deserted, void of activity, void of human or animal life, a silent witness to a long history. The abstracted close-ups and wider landscapes, the open space inviting, as if tempting a butterfly to leave it's cocoon.

 

The process: Cyanotype is one of the oldest photographic processes we know of. It is a photographic printing process that produces a cyan-blue print. This photographic printing process uses the power of the sun’s UV rays for exposure and creates ferric ferrocyanide, also known as Prussian Blue (named for the color of the Prussian military uniforms.) The cyanotype process was widely used to create copies of technical and architectural plans, and these prints were called blueprints; even though it is no longer used in that capacity, any construction document or detailed plan is still referred to as a blueprint.

ABOUT THE ARTIST:

When we look and see, the mind identifies, classifies and stores what we are looking at. The more common an object, the shorter this trajectory. A lemon is a lemon, the brain does not have to investigate, the process is fast. I am interested in re-looking, 'recycling' the images of the tradition of still life painting. Although inspired and influenced by the Dutch masters from the 17th century, my approach is markedly different. Still life painting of that era was a depiction of wealth and status. My compositions are stripped of 'precious' objects and identifible backgrounds. The objects themselves reveal only themselves, leaving the viewer with her or his own associations. I love the challenge to arrest a moment in time that in itself is timeless