De Tweede Sekse /The Second Sex

I showcase women as divine beings, challenging traditional notions of femininity and elevating their status. Vrouw Zijn reclaims female identity from the male gaze, while De Tweede Sekse examines how cultural and societal codes shape women’s identity.

I've selected work from two series because while they differ significantly in their execution and outcome, they share the same underlying theme: the woman and her position within a patriarchal society. I want to give new visual interpretations of women as a higher being. But also because both projects are ongoing; I continuously add new work and switch between them. They're never truly finished. For instance, in this selection, you may find work I made in Spain last year for both series.

Each series consists of constructed individual portraits where I try to encapsulate as much as possible into one image. This is because a second image will tell you my story, and I aim to stimulate the viewer's imagination as much as possible without imposing my perspective, solely allowing the viewers' norms and values to shape their interpretation and leaving them a bit in the dark. I hope to raise many questions without providing any answers. I initially started as a painter, so this approach likely stems from that background. As a painter, you pour everything into one piece.

The first series is called Vrouw Zijn (On Being a Woman) (2021-ongoing). Vrouw Zijn questions the position of women in a world where men set and control standards. The female nude is a beloved and timeless subject in art, which for a long time was monopolized by the male artist and was thus shaped by his vision of the female body. Vrouw Zijn fits within contemporary movements of women (re)claiming ownership of their bodies, including in the arts. The individual women pose in a domestic setting: a nod to the domain that patriarchal societies have long assigned to females (and continue to do so). Unlike many art-historical female depictions, the women I portray do not pose shyly or defiantly but proudly and indifferently; they dare to take up space and look directly into the lens, at the viewer. The social construct in which women form their identity sometimes differs enormously among those portrayed. What connects the women in the photos with each other and with myself is womanhood and the forming of identity within socially imposed frameworks that come with it. Vrouw Zijn contributes to a (female-led) pictorial tradition of women as mystique and magnificent beings. 

The second one is called De Tweede Sekse (The Second Sex) ( 2023 - ongoing) which seeks to understand the role clothing plays in forming female identity. Clothing and appearance are products of the intertwining of nature and culture in human existence, where culture determines how nature (the body) should look and be interpreted. Every culture devises its own codes that the body must comply with to claim the predicate ‘beautiful’. Clothing is a powerful tool that can magnify a woman’s erotic charms, or hide her body, due to the moral codes of the specific culture. It is precisely this ambiguous connection with eroticism and conservatism that regularly leads to skewed eyes and even heated discussions. With the clothes a woman wears, she speaks a non-verbal language, which is understood in different ways depending on the viewer's identity.

This project explores how cultural, social, and historical factors shape the way women present themselves through their clothing. From modern to traditional clothing. The celebration of women is central to this art photography project. It focuses on how women form their identity through the clothes they wear.

My favorite part of these 2 series is its universal concept, allowing me to portray women worldwide while incorporating specific elements from each region or country. The clear concept is the foundation, but the interpretation and execution are influenced by the unique characteristics of the region or country I find myself. It allows to evolve uniquely in each location, making the series both structured and adaptable at the same time. This universality coupled with the ability to explore the intricacies of different regions and the diverse women I meet makes my project particularly meaningful and engaging for me. In my work I want to showcase women as divine beings, challenging traditional notions of femininity and elevating their status to a higher level. With Vrouw Zijn and De Tweede Sekse, I’m able to do that anywhere at any time. I like to travel alone, it’s exciting and challenging but it’s also a comfortable feeling to know that there are inspiring women everywhere and that they are willing to collaborate with me. I feel a true connection with all the women I portray, it’s a magical feeling. 

I am applying for this grant because this is free work that I currently self-fund. To continue and expand these projects, I need financial support. I shoot using analog medium and large formats and print my work myself in the darkroom, a process that is costly. My plan for this year includes traveling to Kazakhstan and Latvia to continue both series as I'm in contact with women from both countries. Additionally, I have been approached by a photographer for Vogue China to collaborate on De Tweede Sekse in China. These opportunities are exciting but require resources, and this grant would allow me to continue pushing the boundaries of these projects while exploring new cultural contexts.