Risk Hazekamp's working practice has recently undergone a significant shift. Until last year she worked exclusively in her studio, taking pictures of herself in front of realistic 'backdrops' of landscapes, made with slide projections and other artificial light. However, last autumn, during her period as an artist-in-residence in the south of Spain, she developed a different working method.
Hazekamp began to photograph herself outdoors in existing landscapes, but
producing works that appear to have been produced in the studio. Most of the
photographs were made at sunrise or sunset and she relied only on the natural
light present. The concept is the converse of her previous working method.
She employs these methods to indicate that, especially in photography, there is no longer a standard of realism - whether or not one has really been at a particular site is no longer important.
The newspaper De Volkskrant of September 10th 1998 said: "Risk Hazekamp is unable to choose: man or woman, boy or girl". For Hazekamp, however, it is not a matter of choice. She does not deny the physical differences between men and women, but cannot admit the clear mental split that science, the church and the establishment would have us believe. For her, emotions and gender characteristics cannot be qualified by physical appearances.
In her photographs and videos Risk Hazekamp attempts to create a reality in which a different identity rules. By uniting the archetypal images of man/woman there is a focus on the androgynous personality, unlike society's so-called 'boy meets girl'.
In her pictures Hazekamp portrays a history that never existed - a history
that is created in films and literature. Her poses and gestures can be reduced
to images that she has seen in movies or read in books. In retrospect most of
these 'images of the memory' no longer correspond with the original footage.
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