Wim Bosch : visual art / photography

Wim Bosch lives and works in Groningen, the Netherlands

The photograph as prosthesis

"The painter constructs, the photographer discloses. That is, the identification of the subject of a photograph always dominates our perception of it - as it does not, necessarily, in a painting'. In this well-known quote, Susan Sontag describes our identification with the photographed object and the unbreakable relationship of the photographic image with reality. It is partly through this specific relationship that I became interested in the medium of photography at a time when I was painting.
In my photographs, however, there is no question of what Cartier Bresson coined the decisive moment, but of a process stretched across time of successive actions and decisions. The working process is comparable to making a painting. The photographic works are built up from photographs, sometimes – or in combination with – photographs found on the internet or visual material from printed publications, such as books or catalogues. The working process is digital as well as analogue: digital montage and scissors, paper or paint are sometimes applied together within one work.
The decisive moment, however, only comes once the print button is clicked and the result of the entire series of decisions – and moments – ultimately coincides in the photograph.

Not a frozen time, but a clotted time.

The representation of our living environment has become a constant in my work over the years. A motif I once chose because of our identification with this specific space, for if we have anything in common then it’s this place in which our lives are played out in relative seclusion.
Homes, interiors, windows and greenery form the décors to our existence, and perhaps few things come as close to us as these places.
As a photograph, these “décors” show the fragility of the world we have constructed, an environment that is subjected to an ongoing process of change. In addition to this, they want to make us aware of our flawed perception and our lack of ability to genuinely capture memories, experiences and sensory imprints.

The photograph as prosthesis.

Nevertheless, my photographs are no dry doctrine or viewing exercise but rather a celebration of seeing, whereby the gaze scans the flat surface and the perspective shifts from flat to spatial and vice versa. As such, they are also an encouragement for seeing, for intense viewing and perhaps even for true perception.


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