Landmark, the Fields of Landscape Photography


Some of my work is featured in the book Landmark, the Fields of Landscape Photography.
This book is an international survey on contemporary landscape photography, edited by William A. Ewing.
Ewing has selected more than 230 photographs by over 100 photographers. The book is organized into ten themes: Sublime; Pastoral; Artefacts; Rupture; Playground; Scar; Control; Enigma; Hallucination; and Reverie. It won’t come as a surprise that my work is part of the Control-chapter. In this theme it is accompanied by the works of Axel Hutte, Alex MacLean, Mishka Henner, Andreas Gefeller and Stephane Couturier a.o.

As an introduction to the book, on page 2 and 3, you can find Contact Sheet #1 (source)  accompanied by Arthur Schopenhauer’s quote:  “Every man takes the limits of his own  vision for the limits of the world”


The book is published by Thames & Hudson, London.
For more information and reviews check Thames & Hudson

Light into dark

A contact-sheet of centre pivot crops in transition from light into dark. Or, to be more precise: from slow into fast.

The fast growing crops are absorbing the light, the slow growing and drying crops reflect it.

Edit and ranking was done by Catalogtree                                                          


Grid Corrections

Grid Correction

The origin of the square grid in America’s western lands is Thomas Jefferson’s Land Ordinance of 1785.
Surveyors were sent out far into the wilderness to fix meridians and base lines; from these, half a continent was divided into six-mile square townships, each split into 36 square sections of 640 acres (a square mile), then sold at a fixed minimum price of a dollar an acre.
Having never stepped foot on their property, someone could point to a map, make a purchase, and start their wagon westward knowing precisely where they were going.
Today, a cross-country flight will easily show the physical ramifications of Jefferson’s decision to subdivide this territory upon the grid. The vast majority of America’s western land is so arranged in a logical lattice-work.
By superimposing a rectangular grid on the earth surface, a grid built from square miles, you will have to fix the spherical deviation. After all, this grid has only two dimensions. Somehow and somewhere corrections have to be made.

I have been looking for these Grid Corrections in Google Earth and found these on the Kansas/Nebraska border.


Black Crop

While I was working on the edit of CROPS I made a version where all the
circles were cut out and placed on a black background.
This was an attempt in getting the viewer more focussed on the circle, instead of being disrupted by the corner left-overs in the square frame.

A short while ago, Michel Banabila asked me for some visuals for his upcoming show in Gorlice (Poland)  and I gave him a selection of these black background circles. One by one, they are going to be beamed behind him while he is playing his set.

It is good to see them again: the endless variation between harvesting, ploughing and seeding becomes even more clear on this black background.

Black Crop



Take a look at Playground on vimeo here

You can watch the film in the Museum Jan Cunen in the exhibition “Almost Nature” and in the Stedelijk Museum Schiedam as part of the exhibition Google Mapping.

Almost Nature


Museum Jan Cunen
Opening Zondag 15 Juni 2014
Design: Catalogtree

Google Mapping, Stedelijk Museum Schiedam

The invitation for the upcoming exhibition at the Stedelijk Museum Schiedam. CROPS and a new film called Playground, again with a soundtrack by Michel Banabila, will be shown in combination with Hans Gremmen’s route 66 “roadmovie” The Mother Road.

The computer connects us to locations almost anywhere in the world. Digitalization and navigation by satellite enable us to visualize these locations clearly within only a few mouse clicks. Routes can be studied and photos of travel destinations can be viewed.

The Google Mapping presentation demonstrates how graphic designer Hans Gremmen (Langenboom, 1976) and artist Gerco de Ruijter (Vianen, 1961) make use of these media, which are accessible to everyone. Each of them applies the available potential in a completely individual way to represent icons from American culture.

The Mother Road (2010-2011) by Hans Gremmen is a virtual journey along the legendary Route 66. Photos borrowed from Google Streetview bring a journey over this highway in the USA to life. Route 66 is the road that connects east and west in the United States. Hans Gremmen edited the photos from Google Streetview as if they were film stills, putting them in sequence. The result gives the illusion of a travelogue filmed from a moving car.
Gerco de Ruijter’s CROPS (2012) is a video collage compiled from photos of irrigation systems in the USA that he gathered from Google Earth. It is a collection of almost abstract images that evoke new associations through the style of montage. It is as if the hands of a clock are illustrating the passage of time, or as if you are looking at the start-up strip of an old celluloid film: it is abstract and realistic at the same time. In a rather similar approach, De Ruijter collected images of American Football fields and placed them in sequence to create the projection entitled Playground (2014). The result is fascinating: various representations suddenly loom up from an abstract series of pictures of field lines with identical measurements. They are symbols of diverse sports clubs that are unmistakably American.