Arnaud De Wolf

Studio Vaartstraat
Periode: 01.09.2015—…

Arnaud De Wolf (°1981, Ronse) woont en werkt in Brussel en Leuven. Hij stu­deer­de foto­gra­fie aan Sint-Lukas Brussel en media­kunst aan de Bauhaus-Universität Weimar.

Shivers contretype vib Shivers, 2016 inkjet print on matte paper, pasted on a wall dimensions variable Fadingcolours Fading colours, 2016 video projection one-channel HD video, no audio 5min 05sec, loop dimensions variable Object 1 Object #1, 2018 lamp, slide, camera lens, accessories and tripod, paint dimensions variable Fadingmountains Fading mountains, 2016 cyanotype (modified process), framed 50 x 70 cm 2017 curiosity installation Curiosity, 2017–2018 video projection, fresnel lens and tripod one-channel HD video, no audio 3min 30sec, loop dimensions variable Icecube installation EPRINT Ice cube, 2014 overhead projector and transparency (Xerography), projection in a corner dimensions variable 2017 fading forest still1 Fading forest, 2017 slideshow projection 36 images, no audio, 4min 20sec dimensions variable

Arnaud De Wolf

One often looks at the work of Arnaud De Wolf with a sen­se of dis­be­lief. Is that ima­ge of a gigan­tic ice cube real­ly flo­a­ting in mid-air? Is that colour­ful pic­tu­re of an ancient forest a rea­lis­tic depic­ti­on or is it a digi­tal fabri­ca­ti­on, a fan­ci­ful re-cre­a­ti­on? What are we meant to dis­cern in his cya­no­ty­pe prints: random blue lines sur­roun­ding whi­te voids of various sha­pes and sizes or the con­tours of a moun­tai­nous lands­ca­pe? By means of an uncon­ven­ti­o­nal pre­sen­ta­ti­on of the pho­to­grap­hic ima­ge, sim­ply turning it on its side or pro­jec­ting it into a cor­ner or using out­da­ted tech­ni­ques, such as the cya­no­ty­pe, De Wolf pre­sents us with works that hover bet­ween the cla­ri­ty of descrip­ti­on and the arti­fi­ci­a­li­ty of inven­ti­on. A pro­jec­ted bund­le of light sud­den­ly trans­forms into a three-dimen­si­o­nal object; abstract lines coa­gu­la­te into a legi­ble form; colours beco­me deceit­ful­ly (un)real. In each of his expe­ri­ments, De Wolf is tes­ting the boun­da­ries of the pho­to­grap­hic sys­tem, loo­king for that brea­king point whe­re the pho­to­graph loses its rea­da­bi­li­ty and easy acces­si­bi­li­ty. His tho­rough inves­ti­ga­ti­on of colour is par­ti­cu­lar­ly reve­a­ling: Fading forest makes abun­dant­ly clear that colour in pho­to­grap­hy is always arti­fi­ci­al. The colours that we see in a pho­to­graph are tech­no­lo­gi­cally and cul­tu­ral­ly coded; they are made in the chemist’s lab or pro­du­ced by a programmer’s algo­rithm. Colour is here reve­a­led as the mani­pu­la­ti­ve garb in which the pho­to­grap­hic ske­le­ton is dres­sed.” – Text: Steven Humblet

Arnaud De Wolf is ook grond­leg­ger van het twee­kop­pig col­lec­tief Club Efemeer.