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Summary: Three conversations and a voiceover for A Super Famous Magazine. As my two-year long pandemic-stricken master’s program has come to a close, I’ve decided to bundle the streams of thoughts and some conversations that kept me busy during this stretch of time in a pocket-sized book. My practice is a bundle of multiple interests and media, weaving into each other in different forms, ranging from online video work to photo print. Throughout my master's years, I have posted 44 videos to a YouTube channel, which has now become a catalog of ideas addressing numerous topics such as skateboarding, photography, filmmaking, fashion, commercial art, self-publishing, photo publications, design, public planning, and the use of public space. Multiple of these videos have called for me to speak to active people in the respective fields that I wish to practice in and make work about. Others have sparked conversations after being posted on the internet in the comment section underneath the videos or in the DMs. It has created an exciting stream of communication with multiple people from all over the world, which has been one of the driving forces for me to keep pursuing this format. Out of this ongoing practice, conversations arose. In this master thesis/book, I speak to: Julian Klincewicz, an American artist whose practice is a combination of photography, videography, design, music, and more. His work, which is rooted in skateboard culture, is both used with commercial intent for brands such as Louis Vuitton and also shown in galleries all over the world. Eugenie Shinkle, senior lecturer on photographic theory and criticism at the University of Westminster. Known as a writer on photography but also acts as an image-maker. Iain Borden, an architectural historian, whose texts outline the use of skateboarding in public spaces. The intention for my master’s essay was to bundle these three conversations with the images that I’ve created over the last couple of years that compliment the subject matter that is discussed. This would have formed a magazine format for which I researched multiple sources of inspiration, such as Union Magazine, Purple Magazine, Thrasher Magazine, Solo Skate Mag, Fantastic Man, Mastermind, L’Officiel Homme, and Not So Difficult. Combining the conversations with images felt as if I was trying to prove visually that I knew what was being said. This took away the power of the interactions I had. During the final stages, I felt inclined to shift the output to a pocket-sized reader. This way the texts, which have given me a lot of insight into my practice, can be used by others as a tool to build up their workflow and understanding of the photographic medium. Yet, still offer a way to link back to the corresponding visual outputs I’ve created through references and providing ways of reaching my online platforms where the work is represented.

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In deze scriptie behandel ik de idee van de sculptuur in fotografie, aan de hand van ondervindingen uit mijn eigen praktijk en referenties naar andere kunstenaars die me inspireren. Hierbij reflecteer ik deels op mijn eigen werk, mijn denkpatronen tijdens en na het fotograferen, waarom ik welke keuzes maak en hoe ik te werk ga; en maak alsook een analyse van het werk van andere kunstenaars dat ik link aan mijn praktijk. Hierbij onderzoek ik hun blik op de sculptuur en de werkwijze die zij hanteren.

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The aim of this paper is to examine and discuss the image of the body in relation to nature, historical context and humour through a case study of the work of Lithuanian artist and photographer Algis Griškevičius (b. 1954). In my research, I attempt to give an insight into the work of the artist by also examining the cultural and social history of Lithuania. Culture and history background enables to uncover the background of the images and possible reasons for existence. By looking into aspects of nature we are able to understand how it influences the characters of the photographs. Moreover, the specifics and symbolism it carries and accompanies the message that is shared. Finally, humour unleashes the layers of attitude by the artist himself, the vulnerability of misinterpretation and connection with a broader audience. Within three chapters the image of the body is gradually deconstructed and showed according to the topics.

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Through 'Liquid Darkness: What Drives People to Danger on the Edge of Volcanoes,' I am researching my own and the other living creatures' relationship with nature - their vulnerability in surroundings where they have to face their mortality. I am fascinated by what occurs when volcanoes, human beings, and their complex behavior come together. There is a kinesthesia of devastation and creation that interests me. In the past six months, I have managed to visit eight different volcanoes and have been to Vesuvius twice. For the thesis and field trips, I interviewed volcanologists, researchers, locals, and visual artists who have worked on volcanic lands. The following chapters are based on my field notes and interviews, complemented with a photographic investigation of the surroundings. It starts with chapters about risks posed by volcanoes, human interactions with volcanoes, and volcanoes in art. From there, we move on to more personal content - the field trips. Each volcano chapter focuses on a specific issue, such as cairns in Volcanic Eifel, the disappearance of the beach in Salina, the pumice factory in Lipari and sigils in Chaîne des Puys. It ends with final remarks on the aftermath and a discussion about disturbances and human-made dangers versus the dangers posed by volcanoes. It is a journey unescorted by the promise of stability.

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Hoe werkt de opeenvolging van beeld tot beeld of pagina tot pagina in een (klassiek) fotoboek? In Louder than Words (Luider dan Woorden), bestudeer ik de opeenvolging van beelden in fotoboeken verdeeld in twee delen. In het eerste deel geef ik basis informatie zoals de start van de sequentie of serie, motieven die worden toegepast zoals verzen, zinnen of hoofdstukken en de inherente methodiek gebonden aan het maken van een fotoboek. Versterkt door een kleine anekdote hoe ik het fotoboek ontdekte en de krachten dat het medium heeft realiseerde. Daaropvolgend in het tweede deel wordt het laatste grootschalige fotowerk in de vorm van een boek: Lebensmittel (2010) van Michael Schmidt grondig geanalyseerd. Onderbouwd door een schetsing van Duitse fotograaf Michael Schmidt hemzelf en zijn oeuvre. Vervolgens een toespitsing op Lebensmittel ’s zijn motieven, strategieën en referenties. Het gene wat versterkend is naartoe het gegeven van de opeenvolging. Hoe beslist fotografen als Schmidt welk beeld welk opvolgt? Tenslotte wordt dit behandeld in het laatste segment, Associaties, waar ik een dertigtal pagina’s (p.47-77) behandel en hierin de associaties uitlicht. De studie is experimenteel door het gebruik van bronnen maar ook eigen terminologieën.