Tjitske  Oosterholt

A Continual Unfolding is an exploration of the uncontrollable, of giving in to the unknown and an openness to whatever is unfolding before you. By working with Polaroids, with its inherently mysterious character, the artist allows herself to be guided by the direction the material wants to take, and to find ways of dealing with this uncertainty.
Rather than trying to fight the uncontrollable, the artist attempts to move along with that which cannot be controlled, finding beauty in whatever is beyond our reach.Through the creation of collages, a constructive interaction with the unexpected and the unfamiliar is established, forming a metaphor for finding peace with the insecurity of what the future might hold.Most of the work on show will never fully be set, making each encounter unique and allowing the viewer to become part of this continuous evolution.

Is there a way to restore our connection to nature, make us become one and the same yet again? How can we not see we are nature?


As an artist and human being, the relationship between ourselves as humans and nature has been consuming me every step of the way. Questions on the sustainability of my practice – one which relies on potentially harmful processes – on the subjectivity of my experiences and on the influence we have on the world around us, have guided me through the course of this project. By not only implementing, but also questioning photographic techniques, I try to examine photography both as the subject and the technical field in which I undertake my research.

Textures, is an ongoing series in which (self-initiated) natural processes are combined with digital photographic techniques, to question whether the final artwork as a picture is of equal

(material) value as the actual processes themselves. Being able to zoom in, blow up, adjust in colour or combine within a digital collage, gives the work a recognizable yet mysterious character. While looking at something that seems familiar, it is still hard to understand what it is you’re actually looking at. Is it a reproduction of a painting, a picture of ice, a microscopic image or a satellite photo?

By capturing the materials while they are still fluid, as well as capturing materials that will always change, the use of photographic techniques becomes less like a form of reproduction and more like a tool for preservation, application and distortion. Simultaneously, the use of both natural materials and digital techniques serves as a metaphor for the way in which we as human beings constantly interact with and adjust our natural surroundings through modern technology, slowly becoming incapable of seeing the difference between the natural and the synthetic.