TJITSKE OOSTERHOLT,         INFO, INSTAGRAM, SHOP




       Tjitske Oosterholt (1991, Amsterdam, The Netherlands) has moved from graphic design and artistic research into a more in-between state of creative practice, where she aims to combine both intuitive and experimental visual imagery mainly through the use of photographic techniques, with research on our experience and perception of the world. With a growing desire to contribute to a more sustainable, circular and responsible approach to art practice, Tjitske’s interest in the transience of the natural world and our relationship to it is taking a centre stage in all creative explorations.




        WORK

                   2021     Traces
                   2021     Explorations of Chemical Reactions
                   2021     Rephrase
                  2020     Trying to hold on to running water
        2019-2021     Textures

                 < 2019    Earlier works
       

         COMMISSIONED

                    2021     Pinkorangeclub
          2019-2021    Music



        In 2020 - 2021 Tjitske is supported by the Mondriaan Fund.
        Currently represented by Contour Gallery with works from
        the series Traces and Trying to hold on to running water.

  

     
Mark

2019-2021 textures





/ 2019 ~ 2021
Autonomous Textures


            ‘Textures’ is an ongoing project in which I use self-initiated natural processes in combination with digital photographic techniques,
to question whether the final artwork as a picture is of equal (material) value as the actual processes or original ‘works’. By making use of materials that have a life of their own and are so rich in texture and detail, but by scanning them instead of using these materials in a physical work of art, I find myself both losing and gaining control over the artwork. 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.





Mark