The common thread in my projects is the fear of transience, and linked to that the fear of becoming a spectator of my life instead of a participant in it. But at the same time I wonder if transience is such a bad thing. Maybe we should accept transience, even embrace it, because it also has a certain beauty? In my work, I distinguish two kinds of transience: slow transience, which is synchronous with time. And rapid transience, where a sudden event radically changes people’s lives, for example as a result of a natural disaster or a war. For this project, I was inspired by the volcanic eruption in Pompeii in 79 AD. In this disaster, people were overwhelmed by death. Villagers in the Italian village were surprised by a cloud of volcanic ash and instantly became immortal. Time stood still after that, the people became icons of a forgotten time. In my opinion, Pompeii is more topical than ever, given the climate disasters and wars. Pompeii 2022 tries to be a mirror of our times, a metaphor for the vulnerability of mankind. For this project, I first make the photo and then I edit some photos by hand, some have been outside for weeks and were subjected to rain wind and sun, others I have processed with for example ash, after which I re-photographed the photo.
DienieBrouwer is a fine art photographer . She graduated cum laude from Photo Academy Amsterdam with her cinematic installation Poetry in Motion 2019, which depicts a layered world. She then took master classes with Miho Kajioka in Naples and Machiel Botman in Amsterdam. Since then she has also published several new works, such as Transience (Photo Festival Naarden 2021) and All humans are mortal (London, 2022). Both exhibitions show us a world in which there is a wafer-thin dividing line between life and death. In her work, DienieBrouwer fuses poetic images with new technical concepts, always looking for the layers, the stories that lie hidden behind the raw reality.
審査員特別賞 – ディエニー・ブルーワー
ディエニー・ブルーワーの「THE DAY THAT LIFE SEEMED ENDLESS」は、壮大な物語を作り上げるという大胆な野心からなり、多様な絵画的手法を複合的に使用することでそれを実現している。露骨に描かれたディテール、擬人化された断片、広範な風景の抽象化を包含するこの作品の繊細さは、しばしば謎めいた実存的探求を達成することに成功している。
– マイケル・マック HARIBAN AWARD 2022 審査員
ファインアートフォトグラファー。 重層的な世界を描くシネマティック・インスタレーション「Poetry in Motion 2019」で、Photo Academy Amsterdamを優秀な成績で卒業。その後、ナポリの梶岡美穂とアムステルダムのMachiel Botmanのマスタークラスを受講した。その後、「Transience」（Photo Festival Naarden 2021）、「All humans are mortal」（ロンドン、 2022）などの新作も発表している。どちらの展覧会も、生と死の間にある薄い境界線の存在を表現している。ブルーワーは、詩的なイメージと新しい技術的コンセプトを融合させ、常に生の現実の背後に隠された層、物語を探し求めている。