Sybren Vanoverberghe 2099
By Katie Stretton
concern with a constant evolution or shifting of events and how we piece these events together as afterthoughts - indeed the very nature of memory is changing the more we try to record it, but it is rare to find a photographer who can employ a genuine sense of awe to the narrative when producing such
a piece of work.
As well as making considered links which tie to one another throughout the book and work, there are images in
The cover sets a mood with subtle tones running through it which are continued throughout in an almost melodic way reminiscent of faded cine film. Once we are inside the book we are greeted by a layout which reminisces, in an appropriately deconstructive and referential manner to the exhibited work; images are given negative space, they are displayed in a way suitable for each image rather than a mistakenly uniform fit-to-page way,
The few deeply saturated prints punctuate, allowing us to take a breath and remind us that we are reading.
Combinations, subtleties and an underlying sense of direction almost push the viewer or reader through ‘2099’; I choose the words viewer and reader here as so much of our history
is read and repeated and so much of our present is viewed.
To open this book for the first time, move through the pages and follow the subtle lines which link the images together and guide you is to pick up on Vanoverberghe’s questioning of our
engagement with how events might evolve. There is a powerful
Vanoverberghe’s work which force us to look outside and consider
photographers such as Minor White and these subtle visual links again give weight to the
ideas which run through this work.
been meticulous here to skilfully make translations from one medium to another and back
In 2099, Vanoverberghe has managed to put together a work which belies many of the joys it has to offer with a first viewing – it is a work one must go back to, take apart and consider
for a longer than the present.