Mijn werk houdt zich in de eerste plaats bezig met vragen over identiteit en plaats. Het bestaat uit fotografische projecten en installaties met geluid, film en video. Met deze werken kan de kijker zich in haar (etnografische) voyeurisme zowel versterkt als in de war gebracht voelen. De installaties en foto’s presenteren ‘documentaire’ beelden, landschappen, en ‘echte’ materialen (houten constructies, textiel, levensmiddelen, gebruiksvoorwerpen, foto’s etc.) naast geënsceneerde fictieve elementen (film, droomnotities, plaatsnaamborden, setting). Door het gebruik van zowel ‘echte’ als fictieve elementen vervagen onderlinge verschillen en worden samengebracht  in een ‘aannemelijk’ beeld. Deze beelden wekken sterk de behoefte op identiteit en plaats te construeren en roept zowel identificatie als vervreemding op. Hierdoor wordt de toeschouwer met haar eigen vooroordelen ten opzichte van de ander en/of andere culturen geconfronteerd.

Mijn fotoseries zijn het resultaat van het spelen met verschillende natuurlijke omgevingen en haar schijnbaar onvermijdelijke nationalistische/etnische connotaties tegenover mijn eigen beeld. Ik verschijn overal niet op m’n plaats, maar ook op plekken die zich lenen voor fantasie en verhalen. De bergen, hutjes in velden, weidse uitzichten die in mijn foto’s verschijnen, representeren en wekken door alle culturen heen  een algemeen verlangen op naar een thuis maar ook een “unheimlich” gevoel van rusteloosheid.

Ania Rachmat

The photo series of Ania Rachmat has, upon first glance, a very simple starting point: each image presents a woman in a geographical environment. We know that this person is the artist herself and the titles of the works indicate, more or less, where the photo has been taken and thus, where she has been. She is simply standing there, not doing anything in particular, but the connection that she has with the location seems very strong, as if it were her native soil.

After looking at more of Rachmat's photographs, one may begin to feel as if in each image the subject is returning or revisiting the location. She returns to re experience the sense of completion that her presence gives to the space. Her bare feet serve to minimize the distance between herself and the place in which she finds her self. Is this place painful, threatening, dangerous or is it comforting, soft and warm? The figure doesn't intend to add something to the place, nor to leave anything behind. It is just her temporary presence that fills the environment and surrounding space.

Before the split-second moment of each photograph, quite a journey has been made; often through different countries. We know this but, we cannot see it. It is not Rachmat's intention to emphasize this; and it is as if she just needs a few steps to reach the place, then uses all her energy to seamlessly unite with the landscape.

We assume that the figure in the photograph experiences her solitude in a particular landscape as pleasant - the moment, with the space around her, isolates her as the focal point yet, accepts her at the same time. This reflects the need for a direct experience; removed from the notions of distant visual culture.

By taking these photographs, all the locations are being connected. To travel to these locations is also to travel through different ways of life, climates and political differences, which eventually find their tendencies reflected in the landscape.

To understand other humans we have to communicate with their beginnings. A photograph by Ania Rachmat is about this intense experience. Her work attempts to become a document of the mediation that she engages in with land and culture; a decision that she makes during a trip - to stop, capture the moment and then to move on.

2001 William Speakman

more to come....