To photograph a family member, whether recreationally or artistically, is not a foreign practice to those behind a lens. For the Dutch photographer Hendrik Kerstens, photographing his daughter Paula has been the body of his work for the past 17 years. This project has been widely seen and well-received across the globe. The images of his daughter are strikingly simple and not easily forgotten.
Kerstens’ photography reflects a clear dialogue between the art of painting and the art of photography. He makes this clear bridge between the grand historic past and present art world by producing photographs in the style of an old Dutch master painting. Kerstens is clear about his intentions with his work. He states, “It’s a way for me to shake up the concept of time. I’m taking someone today with modern tastes and portraying her in the style of 17th-century artists.” In much of the collection, Paula is seen in a three-quarters view, showing only her torso. In almost every photograph, Paula is wearing some sort of head covering and taking on some sort of character resembling the work of an old Dutch master. Each photograph takes on a dark and dramatic tone, but finds humor in the use of costume.
Chiaroscuro is the treatment of light and dark in painting and drawing. Certain painting masters such as Rembrandt are known for their skillful rendering of this technique, especially in the genre of portraiture. Kerstens’ photographic endeavor takes on the effect of classical Dutch subject matters with a focus on strong chiaroscuro to produce painterly effects. He effectively finds the tension of two mediums to demonstrate fluidity between the past and present. Kerstens adorns his daughter in dark clothing and places her in front of a similarly dark background. He illuminates her face through manipulated studio lighting, revealing her milky skin and blue eyes.
Paula stares, deadpan, out at the viewer. Her look is unforgettable. Her head coverings take on the spirit of the Dutch masters’ portraits in their styled form. Instead of finding an old costume hat, Kerstens has Paula wear anything from a plastic bag, foil, and even bubble wrap. These synthetic materials shape their way into a humorous interpretation of the classical Dutch headpiece worn in the old masters’ portraits.
No matter the silliness of the material, Paula wears each headpiece with the same serious facial expression, giving this moment in time a hilarious dignity. Her face calls one specific expression in art history, the face of the girl in Johannes Vermeer’s painting Girl with a Pearl Earring. Her expression never changes, even though her clothing and hats do. There are a few works taken earlier in the project that simply display moments of her youth. She is clothed and unclothed, childish in these early years, yet the facial expression never changes. Her face and body matures, but the look remains consistent.
The large Kerstens prints of his daughter Paula were on view last month at the Danziger Gallery in Chelsea. When inspecting the prints up close, the work demonstrates a certain power that can only be experienced in person. The moistness of Paula’s eyes is portrayed in detail just as clear as each crinkle in her foil headpiece. Her gaze becomes even more inescapable through the crispness.
Kerstens’ career brings together the art of the past with current technologies and fashions. In the past decade his influential images aligned with the visionary designer Alexander McQueen. In 2009, McQueen based his collection on the image of Paula and the plastic bag head covering, using the image as the invitation to his show. His influential images extend beyond the contemporary photographic art world into visceral realms of fashion and even music (Elton John is a known fan). Kerstens provides his viewer, famous or not, with a playful encounter with art history, while introducing his daughter as the theme’s perfect subject.
Photo credits–http://www.hendrikkerstens.com/