Lars Duchateau is a Belgium-based photographer who focuses on commissioned as well as autonomous work. Now and again, you can discover his oeuvre at exhibitions and in publications. His published work contains Looming Vale publication, Limburg publication, Brittle When Dry, Gummy When Moist publication. Feel free to get in touch via mail or Instagram.
Slide 1
[Coming soon — Brittle When Dry, Gummy When Moist: publication] — This series is the result of image-making of a controlled destruction site of a factory in Hasselt. This factory produced and distributed gelatin for various companies. This event was not documented by the press. I took the initiative to document this period as precisely as possible with an analog medium format camera and flash to highlight every detail. Two years after the tear down another event took place. The site had changed once again, a building neighboring the demolished factory had been set on fire by two minors. At first sight, the two occurrences have nothing in common and are just a mere result of luck, but they might be linked in a way that is yet to be proven. With an archeological function and aesthetic, the camera documents this (non)event, but the medium can’t quite link the two as a true narrative, multiple readings are possible and the fictitious sleeps in. This work reflects on the camera, its shortcomings, as well as the significance of images in archeology.
/
Brittle When Dry, Gummy When Moist publication, captured in Ghent, 2021 (1/1)

[Coming soon — Brittle When Dry, Gummy When Moist: publication] — This series is the result of image-making of a controlled destruction site of a factory in Hasselt. This factory produced and distributed gelatin for various companies. This event was not documented by the press. I took the initiative to document this period as precisely as possible with an analog medium format camera and flash to highlight every detail. Two years after the tear down another event took place. The site had changed once again, a building neighboring the demolished factory had been set on fire by two minors. At first sight, the two occurrences have nothing in common and are just a mere result of luck, but they might be linked in a way that is yet to be proven. With an archeological function and aesthetic, the camera documents this (non)event, but the medium can’t quite link the two as a true narrative, multiple readings are possible and the fictitious sleeps in. This work reflects on the camera, its shortcomings, as well as the significance of images in archeology.