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Margaret Lansink : On the border of nothingness…on the road to healing


Atelier Clelia Alric. presents On the border of nothingness… on the road to healing by Margaret Lansink.

In the endless flow of everything, people come and go in our lives. While the presence of some can be so subtle that we barely notice when it begins or ends, with others it is much clearer: they enter or exit with a crash.

In “On the border of nothing”, the Dutch photographer Margaret Lansink transcribes the transitional ambiguity of her adult daughter’s decision to suspend all contact with her, photographing landscapes and naked women whose evanescent presence raises the same haunted question: is this the moment of your disappearance?

Over time, Lansink and her daughter reconnected to identify if their fracture could be repaired. Margaret Lansink then began to rethink and reinterpret “On the Edge of Nothingness” in a physical practice that reflected their emotional healing efforts “on the road to healing”. Working inspired by the Japanese practice of repairing ceramic with gold leaf, she combines her images, cuts them and repairs them with gold leaf to give the hope of a possible link. stronger and more beautiful because it had been broken.

Margaret Lansink is an art photographer who works and lives in a small village just above Amsterdam. Her works have received numerous awards, most recently the 2019 Hariban Award. Her work has been presented in Amsterdam, Rotterdam, Leiden, Den Helder, Antwerp, Arles, United Kingdom, New York, Vancouver, Japan, Tbilisi, Kaunas and Barcelona (LaNuu 2019).

She has also published four books. In addition, she often coaches young photographers in the development of their signature and their portfolio.

The photographic approach is purely intuitive, her images present a sincere reflection of her own inner emotions at a specific time and place.

The visual investigation of the relationship between humans and their (physical) environment is central to the work of Margaret Lansink. In her work, she explores these relationships, trying to create a link between the personal and the universal.

Photographed as self-portraits in the broadest sense of the term, Margaret Lansink’s images always convey a distinct but recognizable emotional framework. With this intuitive mode of photography, she invites the viewer to embark on a journey through her own complex network of memories, emotions, expectations, fears and desires.

Margaret Lansink therefore uses different cameras, mainly analog, to capture the different atmospheres of her inner emotions. By giving the images the freedom to act as an overflow from reality to dreams, it presents an impulse to go on a personal journey.

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