Monograph#2

MONOGRAPH

http://www.dodho.com/

DODHO MAGAZINEwww.dodho.com

[email protected] | [email protected]|[email protected]

Dodho Magazine is a free independent maga-zine and publishing house based in Barcelona.We live, breathe and move by the passion thatawakes photography in all their ambits. Since itslaunch in april of 2013, dodho.com has conti-nued to be the fastest growing photography ma-gazine, and currently has more than 500.000annual hits.

Dodho Magazine features the best of contem-porary photography, bringing together diversebodies of work by established and emerging ar-tists from around the globe.

MONOGRAPH #2www.dodho.com

[email protected]

Monograph´s dual mission is to exhibit and pro-mote the work of talented artists and to providethe public with an opportunity to see and learnabout contemporary photography in a more ac-cessible milieu than that offered by website. TheMonographic focused on the presentation ofonly one photographer and their work.The Monograph project is committed to workingwith galeries, agencies and other dealers to ad-vance the careers of the artists we published.

The photographer / Artist guarantees thathe/she is the owner of the rights to the imagespublished and that he /she has obtained all au-thorizations or permits of third parties in whichthe image appears.

02

https://twitter.com/dodhomag

http://www.dodho.com

https://www.facebook.com/dodhomagazine

https://plus.google.com/+Dodho/posts


LILITH

Henriëtte van Gasteren

Can you tell us a little about yourself?I am Henriëtte van Gasteren (Sevenum, 1964), using the artist name Lilith. Besidesbeing a mother of three children I am a storyteller with a passion for photography. Since2006 my self-portraits have been telling my stories. My recurring themes have beenwomen, vulnerability, identity, female archetypes, gender bending and of course life it-self. But above all freedom and equality.

How did you get interested in photography?As a child I dreamt about becoming a dancer: show ballet, classical ballet. I’ve beenbrought up in a very strict religious way and my parents wouldn’t let me. They wereconvinced the world of dance, of arts, is a dangerous one. It was hard for me to dealwith, because I was told I was talented and I loved to dance. As I grew older I managedto live with this tough decision, because I understood my parents loved me that muchand therefore tried to protect me for all possible dangers. I also was fond of writingand drawing, an alternative way to express myself.

In 2005 I started writing stories, which I published on internet. A good friend of minegave me a 2nd hand webcam. Then I found out I could tell stories with my face andbody as well. I never knew that before. I started creating illustrations (self-portraits) formy stories using that webcam. From then on slowly my way of story-telling changed.Body language suits me better than written words and nowadays my self-portraits aretelling my stories. Sometimes I write a little poem to illustrate a self-portrait, but it’s theopposite now.

Thanks to photography I feel I’ve become a dancer after all, since I am telling storiesusing body language like a dancer does.

Have any artist/photographer inspired your art?‘Life’ is my inspiration. My work is from a 1st person perspective but my story is notonly about me. It’s about women. It’s about people fighting for their identity. Being awoman is not always easy in a world dominated by men. Being gay neither is, despitebeing a man. Being black in a world dominated by white people isn’t easy as well. Andso on. I recognize the struggle. It’s also my intention to support the underdog with“performances” falling somewhere between the real and apparent, my alter egos hol-ding up a dead sharp mirror in front of women and men – calling out society’s ancientconvictions.I do admire Anton Corbijn, Guy Bourdin, Ellen von Unwerth, Helmut New-ton for example.

Could you please tell us anything about your techniqueand creating process?I photograph using a Nikon D800 or D700, a tripod, Hähnel remote control. SometimesI use one studio light but prefer natural light.’ve created humorous, ironic self-portraitsaround my own home.IN

TERV

IEW

From time to time many photographers find themselvesin a creative rut or uninspired to shoot. Does this everhappen to you and if so how do you overcome thesephases?Since I am a mother of three children there’s never enough time to photograph. Thatkeeps me eager. So when I have a little time on my own I just start photographing.Luckily I am always inspired. There is so much going on in this world, in my life.

What future plans do you have? What projects wouldyou like to accomplish?

I am still working on my project ‘A house is not a home’- self-portraits in strangers’houses.

A house shows who we are. But so does a circle of acquaintances, family membersand good friends. That’s why I recently started shooting self-portraits together withall those people in my life. One or two persons in a self-portrait with me. They arethe most important person in every single picture and I am the bit player.

I am also working on a series called ‘Intrauterine’. Self-portraits with my Nokia cellphone in the tub. I like to take a bath, back to the womb that encircled me. Back tothe fetal stage where I could completely be myself. It was safe.

A house shows who we are and over 5 years I shared my home with my audience.Every corner of the room appears in my photography. In 2012 the time for change hadcome. For my latest series of self-portraits home owners unknown to me have offeredtheir houses as sets. After I contacted the newspapers dozens of house owners offeredtheir homes for my new self-portraits. I visited the houses, often without the presenceof the owner, their faith in me shown by giving me their house keys and carte blancheto use the rooms as I wished. This series is called ‘A house is not a home’.

In both my life and my work I communicate with the things discovered around me soin these new and strange sites the artistic possibilities explode with sometimes surpri-sing results. My photography changed but still remained unmistakably ‘Lilith’

Describe your ideal photographic situationI have to be alone.

How much preparation do you put into taking a photo-graphy?Since I am telling my story through my self-portraits I photograph myself how I feel thatday. It all has to do with emotions. I cannot make plans days in advance. When I enterthose strangers’ houses with a small basket filled with random props I am completelyblanc. I start to communicate with the environment, with the people who aren’t presentat that very moment. The thing that really surprised me is that even though those houseowners aren’t present, they still influence my work by the first impression I got fromthem. (Most of the time I paid one visit to them to introduce myself.) That fact mademe wonder about freedom. Are we ever completely free or are we always taking ac-count of others, of society and its rules, (un)knowingly?

What’s your useable-to-unusable ratio when you reviewimages from a shoot?That varies a lot. Sometimes the first shot during light measuring is usable and some-times I need 30 or even 200 photos. It depends on what I am doing. I always need justone photo of a certain situation.

What quick advice do you have for someone who wantsto improve his or her photography skills?Just follow your intuition, listen to your heart and be sincere in what you intend to showthe world. Stick to yourself. Being faithful to oneself makes you stronger and is a gua-rantee for honest work. It’s all about emotions, the photography itself comes secondly. LIL

ITH

A HOUSE IS NOT A HOME

LILITH

LILITH

12

DODHO MAGAZINEMONOGRAPH #2

LILITHA HOUSE IS NOT A HOME

PHOTOGRAPHERSAROUD THE WORLD

A HOUSE IS NOT A HOMEDutch Art Photographer Henriëtte vanGasteren (Sevenum, 1964), using the artistname Lilith, is a storyteller with a passionfor photography. Since 2006 her self-por-traits have been telling her stories. Her re-curring themes have been women,identity, female archetypes, gender ben-ding and of course, life itself. But above allfreedom and equality.

Lilith creates humorous, ironic self portraits around her ownhome. A house shows who we are and over 5 years Lilithshared her home with her audience. Every corner of theroom appears in her extraordinary photography. A story inimages about women, vulnerability, eroticism and muchmore.In 2012 the time for change had come. For her latest seriesof self-portraits home owners unknown to her have offeredtheir houses as sets. After she contacted the newspapersdozens of house owners offered their homes for her newself-portraits. Lilith visited the houses, often without the pre-sence of the owner, their faith in her shown by giving hertheir house keys and carte blanche to use the rooms asshe wished.Lilith, in both her life and her work communicates with thethings discovered around her so in these new and strangesites the artistic possibilities explode with sometimes sur-prising results. Her photography changed but still remainedunmistakably ‘Lilith’.

LILITH

13


ON LINEPHOTOGRAPHY MAGAZINE

https://twitter.com/lilithself

http://www.lilithlove.eu/

https://www.facebook.com/lilith.love

https://www.facebook.com/lilith.photographer

https://plus.google.com/u/0/+LilithLove/posts

LILITH

14




LILITH

15








LILITH

16




LILITH

17








LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH

20




LILITH

21








LILITH

22




LILITH

23








LILITH

24




LILITH

25








LILITH

26




LILITH

27








MONOCHROME

LILITH

LILITH

30


LILITHMONOCHROME


ABOUT LILITHLilith’s work has received critical and public acclaim. She has won several national andinternational photography awards, including in 2014 the public choice award as well asthe 2nd jury prize in AVRO’s national photo contest for self-portraits. Her work is includedin numerous private and public collections including museum those of the Van Bommelvan Dam (Venlo Netherlands), museum Ikob (Eupen Belgium), Limburgs Museum (VenloNetherlands), Generali Insurance Company (Diemen Netherlands), Atrium Hospital (He-erlen Netherlands), Eduard Planting Fine Art Photographs (Amsterdam Netherlands)and the Torch Gallery (Amsterdam Netherlands). In 2013, a book was published provi-ding an overview of her self-portraits from 2006 till 2013, entitled, ‘A house is not ahome’.

Lilith uses self-portraits to provide a commentary on the image of women today. Recu-rring themes in her work include identity, gender roles, freedom, equality, religion andthe positive and negative aspects of human experience. Her work is sometimes humo-rous, often sensual, frequently confrontational, and always original and insightful. Her portraits, especially those of religious themes, have met with some controversy. Herself-portrait “Father, forgive me for….” was removed from an exhibition held in a formerseminary in 2011. That portrait was later published on the front page of a national news-paper, Sp!ts, which deplored censorship and restraints placed on artistic expression.

In 2012, Lilith made a photo documentary about Risja, a young woman suffering fromLyme disease. In an honest and realistic manner, the pictures capture Risja's beauty,her power and bravery, but also her moments of pain and sorrow. The photos have beencompiled in a book (´Risja, a story by Lilith´- This is bugging me) which was releasedwith a traveling exhibition in 2012. The benefits from the sale of the book are being pro-vided to a new foundation, Stichting TeekOnMe, which supports research in the field ofLyme disease.Lilith’s home has served as the backdrop for the majority of her photographs. In 2012,for the series: “A house is not a home”, Lilith invited home owners throughout the Ne-therlands to open their homes to her to use as settings for a series of self-portraits. Do-zens of people invited Lilith to use their homes. In these borrowed homes, she was ableto work, in complete privacy, to combine her portraiture with a vision of home in the hou-ses of friends and strangers. Lilith currently resides and works in the Netherlands. She has prepared a series of black-and-white portraits using a cell-phone for exhibition in 2015 (Intrauterine) and is prepa-ring a series of new projects for release in 2015/2016.

LILITH

31



ARTIST STATEMENTPeople are vulnerable. They can bewounded, severely, and this is frighte-ning. With globalization and the onlinerevolution, our whole world can be ex-posed to those with evil intentions. Atthe same time, goodness and kindnessare spreading like never before.

To me as an artist, this innate vulnerability of mankindrepresents the ultimate form of goodness. My art,every single self-portrait, is a form of expedition, takenone step at a time, to discover the very contours of thisinner vulnerability. In this way, through my photo-graphy, I am able to rediscover and rekindle my faithin humanity.






LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH

34


LILITHMONOCHROME


LILITH

35








LILITH

DODH

OMAGA-

ZINE

PHOT

OGRA

PHER

SAROUD

THE

LILITHDODHO

MAGA-

ZINE

PHOTOGRAPHERSAROUD

THE





LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

http://www.lilithlove.eu/product/book-a-house-is-not-a-home/


DOMESTIC GODDESS

LILITH

LILITH

44


LILITHDOMESTIC GODDESS


LILITH

45








LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH

50




LILITH

51








LILITH

52




LILITH

53








LILITH

54




LILITH

55








LILITH

56




LILITHDODHO

MAGA-

ZINE

PHOTOGRAPHERSAROUD

THE





INTRAUTERINE

LILITH

LILITH

60


LILITHINTRAUTERINE


INTRAUTERINESelf-portraits made with Nokia cell phonein the tub.I like to take a bath, back to thewomb that encircled me. Back to the fetalstage where I could completely be myself.It was safe, when I did not know better. Thehot water cherished me.

Each unexpected thing which comes my way is a testwhich I had not foreseen, despite my wandering thoughtsabout the future. The reality is larger than my imagination,but also far more cruel than my fears.I put my head under water so I cannot breathe. Maybe I donot want to breathe anymore; it’s so much to take in. Thefear, the sadness, the helplessness, it is all overwhelming,it presses on my chest, it presses on my mind. Some daysit makes me feel so small and weak. A day later I start toscratch and crawl and become big and strong again.Yet again I dive underwater. Try to hold my breath for aslong as possible. Then the moment comes when I will bereborn. I am no longer connected to an umbilical cord. Ineed to breathe and live with my own strengths howeverdifficult this can be for me. If it really does not work for meI take a bath. By myself, within the safe shelter of thewomb. With fluttering thoughts until I find the courage to beborn again. Until I have enough guts to live on… only thendo I come out.

LILITH

61








LILITH

62


LILITHINTRAUTERINE


LILITH

63








LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOTOGRAPHERSAROUDTHE WORLD

LILITH

LILITH

72


LILITHCOLOR


LILITH

73








LILITH

74


LILITHCOLOR


LILITH

75








LILITH

76


LILITHCOLOR


LILITH

77








LILITH

78


LILITHCOLOR


LILITH

79








LILITH

80


LILITHCOLOR


LILITH

81








LILITH

82


LILITHCOLOR


LILITH

83








LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH

DODH

OMA

GAZIN

EMO

NOGR

APH #2

PHOT

OGRA

PHER

SAR

OUDTH

E WOR

LD

LILITHDODHO

MAGAZINEMONOGRAPH #

2PHOTOGRAPHERS

AROUDTHE WORLD

LILITH






Monograph#2

Documents

Transcript of Monograph#2