Amsterdam, December 9, 2022 – The Unseen Photo Fair opened its doors yesterday at the Kromhoutburcht hall, transforming this historic industrial space into a vibrant hub for contemporary photography. Amidst galleries showcasing cutting-edge works from around the world, I had the privilege of sitting down with Viviane Sassen, one of the Netherlands' most innovative visual artists. Known for her surreal, color-drenched images that blur the lines between photography, painting, and sculpture, Sassen's booth with Galerie Peter Lansdorp drew crowds eager to unpack her enigmatic universe.
Sassen, who rose to prominence through fashion editorials for magazines like Another Magazine and Purple, has long challenged traditional notions of the medium. Her works often feature fragmented bodies, bold hues, and abstract interventions – sometimes literally painting over prints with oils. As a senior tech journalist covering the intersection of technology and visual arts, I was particularly interested in how digital advancements shape her analog-heavy practice. Our conversation, held amidst her vivid installations, revealed a artist deeply engaged with both heritage techniques and modern tools.
The Allure of Unseen and Amsterdam's Photo Scene
Visura Magazine: Viviane, welcome to Unseen. This fair has become a cornerstone for photography in Europe. What drew you back this year?
Viviane Sassen: Thank you. Unseen feels like home – it's raw, unpolished, and full of surprises. Amsterdam's energy, with its canals and light, inspires me endlessly. This year, I'm showing new works from my Umbra series, exploring shadows and memory. The fair's PhotoBook market is genius; it democratizes access to artists' visions.
VM: Your installations here mix prints, sculptures, and fabrics. How does the physical space of a fair influence your presentation?
VS: Space dictates narrative. At Unseen, I can play with scale – huge C-prints towering over viewers, forcing intimacy. It's not just seeing; it's experiencing disruption, like stumbling into a dream.
Blending Analog and Digital: Tech in the Darkroom
VM: As a tech journalist, I'm fascinated by your process. You start with film, scan, then intervene. How do tools like high-res scanners and software like Photoshop factor in?
VS: Absolutely central. I shoot 4x5 or 8x10 film for that tactile grain – Kodak Portra or Fuji Pro 400H. Then, scanning at 5000 DPI on an Epson flatbed captures every nuance. Photoshop? It's my sketchpad. I layer, distort, paint digitally before printing back to paper. But I crave the handmade: I oil-paint directly on lambda prints. Tech accelerates experimentation; without it, my surrealism would be slower.
VM: Any specific plugins or workflows? Adobe's Neural Filters were buzzing last year – thoughts?
VS: I stick to basics: Curves for color grading, Liquify for morphing forms. Neural Filters are intriguing for concepting, but I avoid over-reliance. Authenticity comes from my hand, not algorithms. Still, AI image generators like DALL-E show photography's future – hybrid human-machine creativity.
VM: Speaking of printing tech, how has inkjet evolution changed your editions?
VS: Night and day. Early Hahnemühle papers were matte; now, Epson SureColor printers with UV inks deliver deep blacks and vibrant azures on Baryta. My editions are limited to 5+2AP, preserving value. Tech ensures consistency across global shows, from Paris Photo to this fair.
Color as Emotion: A Painterly Approach
VM: Your palettes – electric blues, fleshy pinks – evoke Rothko or Matisse. Is color theory tech-driven for you?
VS: Color is memory, emotion. I reference Pantone swatches, but intuitively. In post, I calibrate monitors with SpyderX for accuracy. It's psychological: blue for longing, red for vitality. In Roxanne, my 2021 book, colors bleed like synesthesia.
VM: Influences? Surrealists like Man Ray?
VS: Yes, Man Ray's solarizations, plus African masks from my childhood in Mozambique. And contemporaries like Collier Schorr or Liz Johnson Artur. Tech lets me homage them via seamless composites.
NFTs and the Digital Art Boom
VM: 2022 saw NFTs explode in photography. SuperRare, Foundation – have you minted?
VS: Experimented early, via Nifty Gateway. A Umbra piece sold as NFT-edition in 2021, linking physical print ownership. Blockchain verifies provenance – revolutionary for editions. But volatility worries me; it's speculative. Still, it empowers artists financially.
VM: Downsides?
VS: Environmental impact of proof-of-work. Ethereum's merge to proof-of-stake helps, but galleries like Unseen remain vital for tactile connection.
Challenges for Women in Visual Arts
VM: As a female artist in a male-dominated field, observations?
VS: Progress, but slow. Fairs like Unseen spotlight diverse voices – 40% women exhibitors here. I mentor via Foam Talent. Tech levels the field: Instagram launched my career, bypassing gatekeepers.
The Future: VR Exhibitions and Beyond
VM: Looking ahead, VR galleries like Spatial?
VS: Exciting. Imagine walking my Umbra world in Oculus. But nothing beats physicality – the scent of ink, texture of paper. Hybrid is key.
VM: Advice for emerging photographers?
VS: Shoot fearlessly. Master craft, embrace tech, but infuse soul. Fairs like Unseen are launchpads – submit boldly.
Our talk ended as visitors swarmed her booth. Sassen's work at Unseen 2022 (running through December 11) exemplifies photography's vitality, wedded to technology yet rooted in human mystery. For tech-savvy artists, her insights underscore: tools evolve, but vision endures.
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