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Just suppose,
moreless
moreless
you are standing on the Afsluitdijk looking out over the Waddenzee.
Water, waves, birds, sky. And the horizon. You turn and regard the IJsselmeer. Water, waves, birds, sky. And the horizon. A different one.
The inspired maker of images Titus Swart does things like that and is fascinated by horizons. He prefers to arrange them himself, and that is precisely what he does.
The start is fairly simple. He cleans up his best photographs. Nobody and nothing is allowed to distract from the horizon. The birds have flown away, there is nothing left in the sand on the shore. Then he joins two horizons together. Abruptly at times. This often leads to surprising results. Clashes too. Between foreground and background, day and night, today and tomorrow, rain and shine.
Titus Swart is not easily satisfied. It is still too predictable for him. He wants to take the alienation and abstraction further. So that people will not just look for a moment, but keep on looking, share his thoughts and think for themselves. The work grows in size and breadth and becomes more adventurous. Three, four, or even five combinations instead of two. Details make their appearance. And play an engrossing game.
Titus broadens his horizon, literally and metaphorically.
And I think the end of the horizon is still a long way off.
Paul Mertz
—
Water, waves, birds, sky. And the horizon. You turn and regard the IJsselmeer. Water, waves, birds, sky. And the horizon. A different one.
The inspired maker of images Titus Swart does things like that and is fascinated by horizons. He prefers to arrange them himself, and that is precisely what he does.
The start is fairly simple. He cleans up his best photographs. Nobody and nothing is allowed to distract from the horizon. The birds have flown away, there is nothing left in the sand on the shore. Then he joins two horizons together. Abruptly at times. This often leads to surprising results. Clashes too. Between foreground and background, day and night, today and tomorrow, rain and shine.
Titus Swart is not easily satisfied. It is still too predictable for him. He wants to take the alienation and abstraction further. So that people will not just look for a moment, but keep on looking, share his thoughts and think for themselves. The work grows in size and breadth and becomes more adventurous. Three, four, or even five combinations instead of two. Details make their appearance. And play an engrossing game.
Titus broadens his horizon, literally and metaphorically.
And I think the end of the horizon is still a long way off.
Paul Mertz
—