Photography artist Gert Kist made a name for himself at Galerie Eduard Planting, with his male images printed on weathered wooden subphases. As a photography artist, Kist has recently gone through a period of development and transition. His subject matter has shifted and his photographs have since also become more layered – both in a figurative and literal sense. In the new series of female portraits, there is a clear emphasis shift. No longer is the attention in Kist’s work solely on the male torso but focuses now on female faces that seem to want to either express something or in fact conceal it. Dashing women wearing extravagant costumes, jewellery, hair-dresses and masks. Something is happening inside these female portraits. The beholder can only guess, is intrigued and engages with them.
\You recently went through a period of development and transition. Can you tell us about this?
In my earlier work, the male body was most central. It found a reference in the classical narrative and the subtle eroticism in the paintings by Caravaggio. His pronounced use of the clair-obscure (light and dark) was an inspiration for me. After 2018, a clear accent shift started to take place, however, when a gallery owner asked me to make a series of female portraits. From that point on, my photography has acquired an altogether new level of depth, as my lens is now constantly in search of faces that will both reveal and hide something from us at the same time.
Can you discuss your artistic process from conception to final image?
I am someone who deliberately does not work on a concept using elaborate sketches or mood boards. I prefer to leave things to chance and try to capture the feeling or emotion of the moment. Although, I do work within the frameworks of series and on topics that intrigue me. After the shoot, it is all about selecting the one photo that is most captivating and which I will then reshape further to create a work of art. In turn, this then becomes an elaborate process, often with a lot of Photoshop. What follows is a test print that helps me decide which technique for printing and framing I will use for the finished work.
You currently work in series. Can you tell us about Flight of Swans, Queen of Hearts and Behind the Mask?
I live on the shores of a lake and I have always been intrigued by swans. In my opinion, the most aesthetic of all water birds. The white swan stands for innocence, romance and youth, while the black swan points to the mysteries buried deep inside of us and also having the courage to protect what we love.
Queen of Hearts are larger-than-life, fabulous women, who wear extravagant costumes, hair dress and masks. Such exuberance does not exist in every-day life. Yet it also signifies something, because, after all, nothing about these women is what it seems. There is something disquieting about anything that is too good – or too beautiful – to be true, because there is something that is being hidden from us, as well. Their exorbitance is meant to be a smokescreen.
The works of Behind the Mask are in reference to the Venetian Carnival. Masks are literally meant to hide the true identity – and the nature – of the one who wears them. It is thus not clear what drives the individual behind the mask; it is about the tension between revelation and disguise.
Is narrative important within your work?
Yes. As with most, if not all work, tells a story. Every person carries a unique tale waiting to be told.
Who are your favourite artists and why?
Definitely the old masters, Caravaggio, Rembrandt, to name but two. In my work, I often aim to apply the famous Rembrandt lighting, which is most evident in my latest series of flower stills that I shot entirely by daylight.
What or who inspires your art?
One word: People. They just have so much to tell us. And that is the wonderful thing about art; you are free to create a world that best expresses the way you feel. An this lets you then express the emotions of others.
Where’s your studio and what’s it like?
My studio is in Amsterdam, not far from the famous football Arena. It’s a wonderful, big studio, with a high ceiling and a spacious separate area for make-up and styling.
Do you have any studio rituals?
Most definitely! A good general vibe is essential, to make sure the model feels as comfortable as possible. That means good music and then start building the set and arranging the lighting. Photography is writing with light. It is everything. And once that is done, we then sit down, have something to drink and get better acquainted.
What are you working on currently?
I am currently working on a new series called STILL. These are flower stills based on the old Japanese art form of Ikebana flower decoration. I have totally fallen in love with it. Ikebana is one of the major Zen arts that expresses the beauty of emptiness. It assumes that there is a bright and a dark side to everything and that in order to express beauty in nature, you have to depict both.
Where can we buy your art?
I currently work really well with some galleries here in the Netherlands, who sell my work.
Warnars and Warnars Art Dealers, NU art and design, Gallery van Dun
To view more visit the Gert Kist website
