About the work
With ‘In Camera’ Christiaens juxtaposes her own relationship, her own identity and her own images with those of her parents. Blending two intimate family archives, she calls into question the traditional relationship between men and woman and between photographer and model, both over time and within her own family history. Gazes cross and are reflected within the image, outside the image and through the image. It’s about different perspectives in different times, about similarities and differences. It’s about looking at ourselves, our bodies, our loved ones and others trough the eye of the camera. About exploring the different layers and histories these gazes hold—the gaze of the loved one, the gaze of an artist, the reflected gaze in the mirror—and how they help shape our identity, both within ourselves and through the other.
Stefan Vanthuyne (B), 2022
Biography
Arian Christiaens (°1981) examines ideas of photographic and familial gazes, recontextualising images and the photographic genre in a way that resonates with ideas of a reclamation of sites of photography. It’s multi-layered work where family, photographic, and gender-based narratives overlap with material ideas of the photographic image. Her first publication handling these themes was ‘Xenia’, published by Art Paper Editions and nominated for the Arles Photobook Prize in 2019. In 2022 Christiaens was supported by FOMU (B) and Futures (EU) with ‘In Camera’ as an ‘emerging artist’.
Colin Pantall (UK), 2022
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About exploring the different layers and histories these gazes hold\u2014the gaze of the loved one, the gaze of an artist, the reflected gaze in the mirror\u2014and how they help shape our identity, both within ourselves and through the other. \r<\/p><p>Stefan Vanthuyne (B), 2022\r<\/p><p>Biography\r<\/p><p>Arian Christiaens (\u00b01981) examines ideas of photographic and familial gazes, recontextualising images and the photographic genre in a way that resonates with ideas of a reclamation of sites of photography. It\u2019s multi-layered work where family, photographic, and gender-based narratives overlap with material ideas of the photographic image. Her first publication handling these themes was \u2018Xenia\u2019, published by Art Paper Editions and nominated for the Arles Photobook Prize in 2019. In 2022 Christiaens was supported by FOMU (B) and Futures (EU) with \u2018In Camera\u2019 as an \u2018emerging artist\u2019.\r<\/p><p>Colin Pantall (UK), 2022<\/p>","body_raw":"About the work\r\nWith \u2018In Camera\u2019 Christiaens juxtaposes her own relationship, her own identity and her own images with those of her parents. Blending two intimate family archives, she calls into question the traditional relationship between men and woman and between photographer and model, both over time and within her own family history. Gazes cross and are reflected within the image, outside the image and through the image. It\u2019s about different perspectives in different times, about similarities and differences. It\u2019s about looking at ourselves, our bodies, our loved ones and others trough the eye of the camera. About exploring the different layers and histories these gazes hold\u2014the gaze of the loved one, the gaze of an artist, the reflected gaze in the mirror\u2014and how they help shape our identity, both within ourselves and through the other. \r\nStefan Vanthuyne (B), 2022\r\n\r\n\r\nBiography\r\nArian Christiaens (\u00b01981) examines ideas of photographic and familial gazes, recontextualising images and the photographic genre in a way that resonates with ideas of a reclamation of sites of photography. It\u2019s multi-layered work where family, photographic, and gender-based narratives overlap with material ideas of the photographic image. Her first publication handling these themes was \u2018Xenia\u2019, published by Art Paper Editions and nominated for the Arles Photobook Prize in 2019. 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