Zephyr
Ultraviolet
Video Work KUROSHIO
Florilegium
About
ZEPHYR Series
A new series of works by Danielle Kwaaitaal (1964, Bussum)
Kwaaitaal is already working for years steadily on an extensive photographic oeuvre in which she thematizes water. Her most recent underwater series Florilegium and Ultraviolet certainly did not go unnoticed, they have been purchased by corporate and private collections in NL and abroad.
A seemingly casual collection of glass bottles defines the image of her latest work Zephyr. Old glass, from the so-called archaeological finds, dating back to the 17th and 18th century; Haarlem oil bottles, Gimbon bottles, medicine bottles, an old hip flask and vintage perfume bottles. Traces of the past, irregularities and iridescent glass provide special reflections and unexpected distortions.
Like her previous series, Zephyr has an unmistakably painterly touch, due to a com-plex production process.
The Zephyr series have become 'group portraits', in which each individual bottle is partly shaped by the specific characteristics of the other bottles.
Sharpening your eyes and look again, does not make a difference; it even reinforces the natural acceptance that glass under water looks like this.
Nothing is less true; it is the sharp eye of Danielle Kwaaitaal who has given these bottles a second life with her choices, colors and composition
A new series of works by Danielle Kwaaitaal (1964, Bussum)
Kwaaitaal is already working for years steadily on an extensive photographic oeuvre in which she thematizes water. Her most recent underwater series Florilegium and Ultraviolet certainly did not go unnoticed, they have been purchased by corporate and private collections in NL and abroad.
A seemingly casual collection of glass bottles defines the image of her latest work Zephyr. Old glass, from the so-called archaeological finds, dating back to the 17th and 18th century; Haarlem oil bottles, Gimbon bottles, medicine bottles, an old hip flask and vintage perfume bottles. Traces of the past, irregularities and iridescent glass provide special reflections and unexpected distortions.
Like her previous series, Zephyr has an unmistakably painterly touch, due to a com-plex production process.
The Zephyr series have become 'group portraits', in which each individual bottle is partly shaped by the specific characteristics of the other bottles.
Sharpening your eyes and look again, does not make a difference; it even reinforces the natural acceptance that glass under water looks like this.
Nothing is less true; it is the sharp eye of Danielle Kwaaitaal who has given these bottles a second life with her choices, colors and composition
Available works:
Yes, limited.
The Zephyr Series is currently being worked on. New works will be available soon. Please contact studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
The Zephyr Series is currently being worked on. New works will be available soon. Please contact studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
About
"DANIELLE KWAAITAAL | ULTRAVIOLET
By Francis Boeske
“What you see is what you get”
But what if what you’re seeing can’t be comprehended?
Ultraviolet, the latest series of works by Kwaaitaal embodies that aspect: familiar objects (glass vases and ceramic jars) with dissipating monochromatic tones that deviate from anything recognizable and are unlike anything you’re seen before.
In previous years, Kwaaitaal has created other series of works in which the subjects gain meaning only when submerged in water.
Ballerinas in a swimming pool from the series Whispering Waters. Flowers were the subjects of the series Apres Nous Le Déluge, Black-out, and Florilegium.
Flowers have an inherent sense of beauty and their own unique innate colors. Kwaaitaal has no real control over how a flower blooms when it floats submerged in water, unfettered by gravity. She can only wait for moments that fully catch her eye.
Her most recent series, Ultraviolet, was created inside an aquarium filled with water. The objects used are always heavier than water and will eventually land on the bottom. Only air bubbles that can be seen here and there give us a hint about where they are.
Glass and ceramics do not flow naturally, not even when submerged in water. This is the first time that Kwaaitaal’s refined, decisive perception as an artist becomes evident.
The choice in shapes and outlines of the objects used lies at the heart of the Ultraviolet series, followed by the choice of materials: transparent or explicitly solid. Above all, the composition is what matters. Shades of light and dark, translucent or opaque, the spaces created by the compositions of all objects together, as well as empty spaces.
We do not observe any of this without any introspective deliberation or rearranging, as the end result embodies a natural cohesion not dissimilar to that of the bouquets of the Florilegium series.
The sensation of observing natural “landscapes” is sometimes taken even further as several works from this series have also been printed horizontally.
Once again, Kwaaitaal has sought out new technical challenges. The works were created by superimposing the same image multiple times onto itself. This saturates the color, and by superimposing an image multiple times, an image shift of just a few millimetres takes place.
The viewer is put on edge by this almost imperceptible grunginess, which explains unequivocally the title of this series.
Ultraviolet light consists of electromagnetic radiation situated just outside the visible spectrum, yet it is still visible to the human eye.
Light consists of light waves, and when the wavelengths or frequencies are the same, this is called “monochromatic light”. In nature, color is determined by “polychromatic light”, as these wavelengths or frequencies are different. When this phenomenon occurs, we only see one single color, but these works consist of the addition of multiple monochromatic colors.
By only utilizing shapes and “apparent” hues, Kwaaitaal walks down a path that at first sight seems to be rather minimalistic, but of which the barely visible views along the way are decidedly rich.
"DANIELLE KWAAITAAL | ULTRAVIOLET
By Francis Boeske
“What you see is what you get”
But what if what you’re seeing can’t be comprehended?
Ultraviolet, the latest series of works by Kwaaitaal embodies that aspect: familiar objects (glass vases and ceramic jars) with dissipating monochromatic tones that deviate from anything recognizable and are unlike anything you’re seen before.
In previous years, Kwaaitaal has created other series of works in which the subjects gain meaning only when submerged in water.
Ballerinas in a swimming pool from the series Whispering Waters. Flowers were the subjects of the series Apres Nous Le Déluge, Black-out, and Florilegium.
Flowers have an inherent sense of beauty and their own unique innate colors. Kwaaitaal has no real control over how a flower blooms when it floats submerged in water, unfettered by gravity. She can only wait for moments that fully catch her eye.
Her most recent series, Ultraviolet, was created inside an aquarium filled with water. The objects used are always heavier than water and will eventually land on the bottom. Only air bubbles that can be seen here and there give us a hint about where they are.
Glass and ceramics do not flow naturally, not even when submerged in water. This is the first time that Kwaaitaal’s refined, decisive perception as an artist becomes evident.
The choice in shapes and outlines of the objects used lies at the heart of the Ultraviolet series, followed by the choice of materials: transparent or explicitly solid. Above all, the composition is what matters. Shades of light and dark, translucent or opaque, the spaces created by the compositions of all objects together, as well as empty spaces.
We do not observe any of this without any introspective deliberation or rearranging, as the end result embodies a natural cohesion not dissimilar to that of the bouquets of the Florilegium series.
The sensation of observing natural “landscapes” is sometimes taken even further as several works from this series have also been printed horizontally.
Once again, Kwaaitaal has sought out new technical challenges. The works were created by superimposing the same image multiple times onto itself. This saturates the color, and by superimposing an image multiple times, an image shift of just a few millimetres takes place.
The viewer is put on edge by this almost imperceptible grunginess, which explains unequivocally the title of this series.
Ultraviolet light consists of electromagnetic radiation situated just outside the visible spectrum, yet it is still visible to the human eye.
Light consists of light waves, and when the wavelengths or frequencies are the same, this is called “monochromatic light”. In nature, color is determined by “polychromatic light”, as these wavelengths or frequencies are different. When this phenomenon occurs, we only see one single color, but these works consist of the addition of multiple monochromatic colors.
By only utilizing shapes and “apparent” hues, Kwaaitaal walks down a path that at first sight seems to be rather minimalistic, but of which the barely visible views along the way are decidedly rich.
Available works:
Yes, limited.
Ultraviolet Series is almost sold-out. Only a few works are still available. Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
Ultraviolet Series is almost sold-out. Only a few works are still available. Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
Video work commissioned by Lowlands Festival, for the main stage, 2018 edition.
About
SUBMERGED FLOWERS | Twan Janssen
Danielle Kwaaitaal photographs flowers SUBMERGED IN WATER. Their COLORS get new names and become more VIBRANT, giving the flowers a surreal, MAGICAL appearance. Twan Janssen visited her in her studio in Amsterdam.
In the past, you photographed female bodies, and now flowers…
In 2015, I began my research into flowers. The female body played a central role in my work before, but after that, I felt that it was time to focus on something else.
Do you consider flowers to be a kind of poetic allusion to the human body?
Perhaps, but for me, it was really a logical continuation of that. But I do not regard these flowers as imagery that could replace that of the female form. This series of photographs follows a major project with models who were submerged underwater in a swimming pool, really a very large production. Not just any pool, but one with a depth of five meters, with a large group of models. I was yearning to do something smaller as a reaction to that, to create works in the intimate space of my own studio. I wanted to have this sense of closeness once again, to connect with my own works on a more personal level. I can be quite mesmerized by surfaces. Nerves, structures, how different parts blend into each other. This series of works is very much a continuation of that. Especially the surface and tactility of the flowers have stimulated me to get started on this project. I feel as if the subject has invited me personally.
Why submerged in water?
To me, water signifies weightlessness and the absence of time. I feel that it is a medium that allows me to turn reality upside-down. I’m not that interested in reality; I want to represent reality in in a way that would probably not exist without my involvement. To me, the flowers I photograph underwater are clearly connected with a part of the art history, “Dark Romanticism”. The works of Caspar David Friedrich and William Turner are very famous examples of that. It was very much the polar opposite of the Enlightenment, in which humankind wanted to dominate nature as it saw fit, to really control it.
To chain the beast of indomitable nature.
Exactly.
In spite of that, I also associate your photos with early botanical drawings, which aimed to categorize nature, to learn about it and understand it as much as possible, while your works do not have such intentions. Rather, they give me a sense of wonder, and a boundless fascination with the beauty of a single moment in time.
My work is never about capturing something in that way, or at least not retaining it. The series ‘Florilegium’ is a throw-back to botanical drawings from the 17th century, but I think that the difference with these is that my works do not try to document something; it is more about observing and then releasing something. It is my interpretation of a reality, not its documentation. With my works, I create a reality that does not exist but will be regarded as if it did. Perhaps it is a very reasonable proposal for an alternate reality. All of us are familiar with the pulsating intensity of a television screen. I attempt to bring a part of that to these images, which expressly present themselves as being part of nature. I have developed a technique through which I can translate this intensity into my photos. Rather than being lit up by an external light source, the flowers in my works seem to radiate light themselves.
You photograph flowers “in their prime.” They exist before then, but we only become interested in them once they’re in bloom, after which we lose all interest in them.
When taking photographs of submerged flowers, something else occurs.
Because they are submerged in water, they are not exposed to oxygen. Due to this, the flowers I use in my work have lifespans that are multiple times longer. Their lifespan is expanded twice, in reality, and eventually also through my works. There is only one single print of each photo in existence, in the same way that each human or each flower is unique. It is fair to say that in this way, it could also be an homage to life, because everything that cannot be repeated may be the most valuable.spired by Dutch botanical drawings from the 17th Century. Bundled in book these drawings are also known as “Florilegium".
SUBMERGED FLOWERS | Twan Janssen
Danielle Kwaaitaal photographs flowers SUBMERGED IN WATER. Their COLORS get new names and become more VIBRANT, giving the flowers a surreal, MAGICAL appearance. Twan Janssen visited her in her studio in Amsterdam.
In the past, you photographed female bodies, and now flowers…
In 2015, I began my research into flowers. The female body played a central role in my work before, but after that, I felt that it was time to focus on something else.
Do you consider flowers to be a kind of poetic allusion to the human body?
Perhaps, but for me, it was really a logical continuation of that. But I do not regard these flowers as imagery that could replace that of the female form. This series of photographs follows a major project with models who were submerged underwater in a swimming pool, really a very large production. Not just any pool, but one with a depth of five meters, with a large group of models. I was yearning to do something smaller as a reaction to that, to create works in the intimate space of my own studio. I wanted to have this sense of closeness once again, to connect with my own works on a more personal level. I can be quite mesmerized by surfaces. Nerves, structures, how different parts blend into each other. This series of works is very much a continuation of that. Especially the surface and tactility of the flowers have stimulated me to get started on this project. I feel as if the subject has invited me personally.
Why submerged in water?
To me, water signifies weightlessness and the absence of time. I feel that it is a medium that allows me to turn reality upside-down. I’m not that interested in reality; I want to represent reality in in a way that would probably not exist without my involvement. To me, the flowers I photograph underwater are clearly connected with a part of the art history, “Dark Romanticism”. The works of Caspar David Friedrich and William Turner are very famous examples of that. It was very much the polar opposite of the Enlightenment, in which humankind wanted to dominate nature as it saw fit, to really control it.
To chain the beast of indomitable nature.
Exactly.
In spite of that, I also associate your photos with early botanical drawings, which aimed to categorize nature, to learn about it and understand it as much as possible, while your works do not have such intentions. Rather, they give me a sense of wonder, and a boundless fascination with the beauty of a single moment in time.
My work is never about capturing something in that way, or at least not retaining it. The series ‘Florilegium’ is a throw-back to botanical drawings from the 17th century, but I think that the difference with these is that my works do not try to document something; it is more about observing and then releasing something. It is my interpretation of a reality, not its documentation. With my works, I create a reality that does not exist but will be regarded as if it did. Perhaps it is a very reasonable proposal for an alternate reality. All of us are familiar with the pulsating intensity of a television screen. I attempt to bring a part of that to these images, which expressly present themselves as being part of nature. I have developed a technique through which I can translate this intensity into my photos. Rather than being lit up by an external light source, the flowers in my works seem to radiate light themselves.
You photograph flowers “in their prime.” They exist before then, but we only become interested in them once they’re in bloom, after which we lose all interest in them.
When taking photographs of submerged flowers, something else occurs.
Because they are submerged in water, they are not exposed to oxygen. Due to this, the flowers I use in my work have lifespans that are multiple times longer. Their lifespan is expanded twice, in reality, and eventually also through my works. There is only one single print of each photo in existence, in the same way that each human or each flower is unique. It is fair to say that in this way, it could also be an homage to life, because everything that cannot be repeated may be the most valuable.spired by Dutch botanical drawings from the 17th Century. Bundled in book these drawings are also known as “Florilegium".
Available works: Yes, limited.
All works of the
Florilegium Series (2017- 2018) are an edition of 1+1 Artist Proof. Only a 5 works are available limited editions. Interested? Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
All works of the
Florilegium Series (2017- 2018) are an edition of 1+1 Artist Proof. Only a 5 works are available limited editions. Interested? Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
About: BLACK OUT Series was created in 2017 and first shown at Francis Boeske Projects in Amsterdam. After that several works have been included in various exhibitions worldwide.
Available works: Yes, limited.
All works of the BLACK OUT Series (2017- 2018) are unique. Series is almost sold out, only a few works (in bigger sizes) are still available. Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
All works of the BLACK OUT Series (2017- 2018) are unique. Series is almost sold out, only a few works (in bigger sizes) are still available. Please contact Studio Danielle Kwaaitaal for sizes, prices and framing options. Studio Danielle Kwaaitaal ships her work worldwide in professional handmade crates. For inquiries please sent a message to danielle@daniellekwaaitaal.nl
Commissioned Portraits
About: Since 2012, the year in which I created Hidden Series, I portray children on assignment. l take children's portraits very intuitive, and I often see at a glance how I want to capture a child. For me the personal contact with the child is crusial, I like sharpness and focus, but also like to embrace unexpected moments. That's why all my children's portraits have their own signature and uniqueness. The photoshoot can take place on location as desired. Costs per portrait are from € 2.250,-. The picture will be signed and professionally framed with museumglass and is UV protected. Please send a message to Danielle@daniellekwaaitaal.nl for more information and available dates.
Following her studies at the fashion academy, DANIELLE KWAAITAAL (1964, Bussum) completed her studies at the Rietveld Academy in Amsterdam in 1991. With her graduation project Bodyscapes, she was well ahead of her time. Kwaaitaal, who has been experimenting with the computer program Paintbox since the 1980s, is a pioneer in the field of digitally manipulated photography. Her project certainly did not go unnoticed, as the Stedelijk Museum in Amsterdam (Municipal Museum) immediately purchased a work from the series.
One year later, Kwaaitaal had her first solo exhibition at the Bloom Gallery in Amsterdam, which in those days was a prominent gallery and a very important platform for young talent. Around the same time, she caused a stir as a VJ in metropolitan clubs, such as Escape in Amsterdam and in Ibiza. In 2004, documentary filmmaker Jenne Sipman portrayed her as one of the driving forces of the house scene of the nineties.
International recognition followed shortly thereafter. Kwaaitaal's work could be seen in many solo and group exhibitions. Whispering Waters (2009) in the Groninger Museum can be considered Kwaaitaals programmatic calling card. Three themes were featured, encompassing her entire oeuvre: skin, gravity, and - perhaps the most significant - her relationship with the art of painting.
Hidden Series (2012) was the title of her solo exhibition at the Museum Foundation, where she presented portraits of 12-year-olds, among others. In this series, Kwaaitaal focused on identity, intimacy, and emerging beauty.
Photo Festival Naarden selected Kwaaitaal's series Apres Nous Le Déluge for its 2015 edition. The series of still lifes of flowers, for which this time Photoshop was not used, had an unmistakably painterly touch.
In 2016, the artist exhibited photos in the Drents Museum with a new series of photos titled ABOVE & BEYOND. For this exhibition, she collaborated with fourteen other artists from various disciplines.
In 2017 and 2018, flowers continued to be a significant theme in her work, as she worked exclusively on her underwater still lifes series BLACK OUT and FLORILEGIUM. These series have been exhibited frequently, and works from it have been sold in the Netherlands as well as abroad. The book FLORILEGIUM, which is completely dedicated to this extensive series, is expected to be published at the end of 2020.
In her new underwater series ULTRAVIOLET (2020), Kwaaitaal goes in a completely new artistic direction. Flowers have given way to glass vases and ceramic jars. She focuses on her choice of the shapes and contours of the objects, followed by her choice of materials; transparent or solid. We can see subtle shades of light and dark, translucent and opaque. These works are created with a true painter's eye. With Ultravoilet, Kwaaitaal appears to move further and further away from her initial medium, photography. This might be why many view this series as an important moment in her artistic development; her Magnum Opus.
Danielle Kwaaitaal's works are part of several collections of museums and companies in the Netherlands and abroad. Multiple works from the Florilegium and Ultravoilet series were recently acquired for the extensive art collection of the Ministry of the Interior and Kingdom Relations. Apart from autonomous work, Kwaaitaal also takes on commission work. Her commissioned pieces range from intimate portrait photography to monumental installations. In 2008, she created Tracing Reality for Schiphol Airport Amsterdam, which covers 450 square meters of the glass facade near Pier B, and is seen by well over six million travelers annually.
Danielle Kwaaitaal is represented in the Netherlands by Francis Boeske Projects.
1964 Geboren in Bussum, Nederland
1987 Afgestudeerd aan Modeacademie Bijenvelt
1991 Afgestudeerd aan de Gerrit Rietveld Academie, Amsterdam
Woont en werkt in Amsterdam
•Solotentoonstellingen (selectie)
2022 30 Years, Francis Boeske Project, Unseen Amsterdam
2022 Kwaaitaal / Tallova, Francis Boeske Projects, Art Rotterdam
2022 STILL WATER, Michele Schoonjans Gallery, Brussels, Belgium
2021 Art the Haque (Artist of the year) Francis Boeske Projects Den Haag
2021 Zephyr Series, UNSEEN Fotobeurs, Francis Boeske Projects, Westergasfabriek Amsterdam
2021 Silent Water, Galerie Janknegt, Laren
2020 Art Rotterdam, met Kiki Lamers, Francis Boeske Projects, Rotterdam
2019 Danielle Kwaaitaal, Rasson Art Gallery, Tournai, Belgium
2018 Florilegium, Artist First! Amsterdam
2017 BLACK OUT, Francis Boeske Projects, Amsterdam
2017 Danielle Kwaaitaal & Kiki Lamers, Code Artfair, Copenhagen
2015 From the Vaults, Nederlandsche Bank Amsterdam
2015 Danielle Kwaaitaal, Kunstgemaal Bronkhorst
2013 BLACK and other Colors (Popup) in samenwerking met ontwerper Marc de Groot, Amsterdam
2012 Hidden Series, Kasteel Nijenhuis, Heino
2011 Danielle Kwaaitaal, Flatland Gallery, Utrecht
2010 Studies of Falling Angels, Torch Gallery Amsterdam
2010 Whispering Waters, CDA Projects, Istanboel, Turkije (cat.)
2010 Whispering Waters, Casa Dell'Arte Gallery, Torba, Turkije
2009 Whispering Waters, Temporary Gallery, keulen
2009 Danielle Kwaaitaal, Selected video-works, Monkey Island Artspace, Keulen
2007 Liquid, Gasunie, Groningen
•Groepstentoonstellingen (selectie)
2022 Vorm aan de Vecht, Buitenplaats Doornburgh, Maarssen (cat.)
2021 Xmas - marQt, Art Gallery O-68, Velp
2020 Broken Dreams, Can Elgiz Museum of Contemporary Art, Turkije
2020 Fotofestival Schiedam, Galerie 158, Schiedam.
2020 Pink by quand les fleurs nous sauvent, galerie Joseph-Charlot, Parijs
2019 Pan Amsterdam, Lang Art, Amsterdam
2019 Flora, Galerie 158, Schiedam
2019 Fotofestival Naarden, Naarden Vesting
2019 Biennale Genova, Palazzo Ducale, Genua (cat.)
2018 KINO Nest, Ruimte voor Kunst, Den Haag, vertoning FLO
2018 To the Beat of My Own Drum, Nieuw Dakota, Amsterdam
2018 Art Rotterdam, Francis Boeske Projects
2018 The Future is Female, Parts Projects Den Haag (cat.)
2018 Bloemenlevens, Kunsthandel de Boer, Amsterdam
2017 Artist First, Francis Boeske Projects, Amsterdam
2017 Summershow, Francis Boeske Projects Amsterdam
2017 YIA Artfair Brussels, with Francis Boeske Projects
2016 Silence out loud Museum Kranenburgh, Bergen
2016 ABOVE & BEYOND Drents Museum Assen, cat.
2016 Dutch Identity, Nederlandse Portretfotografie NU, Museum de Fundatie Zwolle (cat.)
2015 Après nous le Déluge, Fotofestival, Naarden
2014 Droomkunst, Singer Museum, Laren. (cat.)
2014 Ongekend Kant Museum IJsselstein, IJsselstein.
2013 As Tears Go By, Galerie Cokkie Snoei, Rotterdam
2013 DISCO, Flatland Gallery, Amsterdam
2012 Zoet&Zout, Water en de Nederlanders, Kunsthal, Rotterdam (cat.)
2012 Parelen, Museum de Lakenhal, Leiden (cat.)
2011 DeLaMar Photocollection, DeLaMar Theater, Amsterdam (cat.)
2011 Acquisitions, Can Elgiz Museum of Contemporary Art, Turkije
2009 The unforgettable fire, Kunsthal, Rotterdam (cat.)
2008 Longstories, Torch gallery Amsterdam, (cat.)
2007 Vamos a Ibiza, Arti et Amicitiea, Amsterdam en Iglesia del Hospitalet Ibiza, Spanje (cat.)
2007 Behang van plint tot plafond, Coda Museum, Apeldoorn
•Boeken
2021 Florilegium, uitgeverij Hoogland & van Klaveren
2016 Above&Beyond, Drents Museum
2009 Whispering Waters, met voorwoord van Pietje Tegenbosch
•Filmprojecten
2018 Kuroshoi (Black Tide) premiere Lowlands 2018
2013 Bodyscapes Cinema Zuid/Modern Times, Skindeep
EYE Filmmuseum, Amsterdam (met publicatie)
•Kunstopdrachten
2012 Falling Angels, wandschildering, Menzis, Wageningen
2012 Video Remix Kunstcollectie Museum de Fundatie, Zwolle/Heino
2012 Siluce Moving in Dimensions Parelen, Museum de lakenhal, Motion Capture animatie i.s.m TU Delft
2011 Dromen van Nazar, folie op liftschacht, Bredeschool Olympia, Breda
2010 Liquid Diamonds, folie op glas, Prime Amsterdam
2008 Tracing Reality, 450 m2 folie op glas, BC corridor, Amsterdam Airport Schiphol
•Fotografie-opdrachten
2018 Gweilo 2 kinderportretten, Hongkong (particulier)
2012 tot heden.Diverse particuliere portretopdrachten (kinderen)
2014 The Grain Project, 18 analoge kinderportretten (particulier)
2014 Gweilo, 17 kinderportretten, Hongkong (particulier)
2013 Nespresso Campagne (landelijk, Billboards)
Watersong, 3x boekomslagen
2012 Mirrored Series, 4 portretten (particulier)
2009 Whispering Waters, Groninger Museum, Groningen
•Gastdocentschap
2013 Fotoacademie Amsterdam
2009 HKU Utrecht
2009 Academie Minerva, Groningen
2009 Frank Mohr Instituut, Groningen
2007 Frank Mohr Instituut, Groningen
•Beurzen (selectie)
2016 Mondriaan Fonds, werkbijdrage bewezen talent + opdrachtgever
2008 Amsterdams Fonds voor de Kunst basisregeling
2008 Prins Bernhard Cultuurfonds, Tijlfonds
•Anders
2013 Design Matters, Pakhuis de Zwijger, lezing
2013 GIRL, YOU'LL BE A WOMAN SOON, Symposium, Veejaying
2012 Art&Drinks after Work, Veejaying, Kunsthal, Rotterdam
2012 YiPArt fotoveiling, Campagnebeeld
2011 Depth of Field, visuele colom, Paradiso, Amsterdam
2009 Salon de L’amitié, een cultureel genootschap rondom Peter Giele, Initiatiefnemer, concept, fondsenwerving en productie, Arti et Amicitiae, Amsterdam
2009 Lezing over eigen werk, Utrechts Centrum voor de Kunst, Utrecht
•Jury
2016 Fotoacademie, eindexamen commissie Amsterdam
2014 Menzis foto-opdracht
2013 Fotoacademie, eindexamen commissie Amsterdam
2012 Studenten festival Amsterdam (fotografie)
2010 Fotoacademie eindexamen commissie Amsterdam
•Prijzen en Nominaties
2015 Photography Masters Cup, Nominee in Portrait, Young boy and his Cat
2014 Photography Masters Cup, 2nd Place - Merit of Excellence in Portrait, Capturing Giulia
2014 Photography Masters Cup, Nominee in Fine Art
Whispering Waters - Dione
2014 Photography Masters Cup, Nominee in Nude FLO
2014 Photography Masters Cup, Nominee in Portrait,
Capturing Deborah
2013 The Spider Awards, Nominee Nude, Black Waters #5
•Kunstcollecties
Het Koninklijk Huis, Zijne Majesteit de Koning en Hare Majesteit Koningin Máxima.
Antoni van Leeuwenhoek ziekenhuis
Ministerie van binnenlandse zaken en koninkrijksrelaties
Drents Museum, Assen
Universitair Medisch Centrum, Utrecht
Achenbach Art Collection, Keulen, Duitsland
Groninger Museum, Groningen
Museum de Fundatie, Zwolle/Heino
Stedelijk Museum, Amsterdam
Can Elgiz Museum of Contemporary Art, Turkije
Caldic collectie
KPN Telecom
ABN AMRO
Nederlandsche Bank
Van den Ende Foundation
Vitens Utrecht
Menzis Wageningen
Amsterdam Airport Schiphol
Gasunie Groningen
LUMC Leiden
UMC Utrecht
Erasmus Universiteit
DeLaMar Photocollection
Visser Bay Anders Toscani
Stadsdeel Bos en Lommer, Amsterdam
Randstad
Dela Kunstzaken
K.L.M.
De Balie
Akzo Nobel
Architectenbureau Marlies Rohmer
Torch Gallery
Dela Uitvaartverzekeringen
MOOOI / Marcel Wanders
Tegenbosch/vanVreden
Heden Kunstcollectie
Privé Collecties in binnen en buitenland
•Bibliography (selectie)
2022 Fascinant Florilege, Alienor Debrocq, Le Soir
2022 Still Water, Eye on Photography, John Devos
2022 Verstild Minimalisme, Pieter van leeuwen, PF Magazine
2021 Verbloemd, VPRO gids Katja de Bruin
2020 Ultraviolet, Francis Boeske, GLAS Magazine
2019 Onderwaterbloemen, Twan Janssen, Residence
2018 Danielle Kwaaitaal, Elsbeth Grievink, Elle Bloemen (internationaal)
2018 Onderwater, FD Magazine, Michou Basu
2018 Botanische Beauty, Mirror Mirror Magazine, Sophie-Céline Hamer
2017 BLACK OUT Danielle Kwaaitaal, Parool
2017 Onderwater, Sacha Bronwasser, Volkskrant
2017 Binnen kijken Hanne Hagenaars, Parool
2016 Gered van de vernietiging Museumtijdschrift, Sebeth Snijders
2016 Nieuw leven voor afdankertjes Trouw, Henny de Lange
2015 Après nous le Déluge Ton Hendriks, cover-artikel PF Magazine
2015 25 jaar Photoshop Arno Haijtema, Volkskrant
2015 Doordrenkt van Schoonheid Renkse Derkx, Harpers Bazaar
2015 Après nous le Déluge Danielle Kwaaitaal, Focus
2014 Danielle Kwaaitaal Meta Struyken Style Indicator (online, NL)
2014 Selected by Jorge Margolles Noovo Editions (online, Spanje)
2013 Op de Huid Suzanne van den Berge, Jan Magazine
2013 Onderhuids Sarah Meulman, Voque
2013 Captured Caroline Brugman, Elle
2013 Collectors Tip Blend Magazine
2012 Danielle Kwaaitaal, David Stroband, Ons erfdeel
2012 Curated by Smile in Your Face (online, NL)
2012 Oude Liefde Machteld Leij, Kunstbeeld
2012 Verhulde Kwaaitaal, Tablau
2012 Op de Huid Karel Ankerman, Financieel Dagblad
2012 Fotografe laat modellen zweven Maaike Staphorst, De Telegraaf
2012 Tussen kind en vrouw Opzij Magazine
2011 Een voile van krasjes Sacha Bronwasser, De Volkskrant
2011 Whispering Waters Photo-art Magazine, Korea
2011 I Promise to Love you Roos van der Put, Kunstbeeld
2011 Kunst top-100 Riki Simons, Elsevier
2011 Belletjes in bad NRC, Marion van Eeuwen
2011 Lofzang op het vrouwelijk lichaam Jan Pieter Ekker, Het Parool
2010 Kunst top-100 Riki Simons, Elsevier
2009 leven na de Roxy Renson van Tilborg, L’officiel
2009 Leven van Creativiteit Sara Luijters, Margriet
2009 Schoonheid is heel dichtbij Ilonka Leenheer, Elle
2009 De hollandse school Meta Struyken, NewStyle Megazine
2009 Starende nimfen Sandra Spijkerman, Trouw
2009 Mooie vrouwen op sterk water Isabella Werkhoven, Dagblad v.h. Noorden
2009 Jezelf zoeken Kim Bos, Vrij Nederland
2009 Danielle Kwaaitaal, Sabine Modder, Mocoloco
2009 Nimfen protesteren in de marge, Lennard Drost, Volkskrant
2009 Het Bureau van Danielle Kwaaitaal, Famke and Floor van Praag, Jacky
•Televisie, radio
2021 Nooit meer slapen (over Florilegium)
2015 Avro-tros KUNSTUUR (over Après nous le Déluge)
2015 Nooit meer slapen, VPRO radio (over From the Vaults)
2012 Kunststof TV (over Hidden Series)
2010 AT5, Studies of Falling Angels bij Torch Gallery
2009 Kunststof TV (over film project FLO)
2009 VPRO Radio de avonden (over Whispering Waters)
2009 NPS 4takt (over Whispering Waters)
2009 Avro’s Kunstuur (over Whispering Waters)
2009 AT5 Interview Tracing Reality
2007 Kunststof, interview
2007 Goedemorgen Nederland, interview
2007 Netwerk, about Vamos a Ibiza
Studio Adress
Studio Danielle Kwaaitaal Agent for the Netherlands
NDSM Plein 43 Francis Boeske Projects
1033 WB Amsterdam Francis Boeske
Tel: +31 6 42011116 Tel: +31 6 81976636
Danielle@daniellekwaaitaal.nl Francis@francisboeske.nl
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NDSM Plein 43 Francis Boeske Projects
1033 WB Amsterdam Francis Boeske
Tel: +31 6 42011116 Tel: +31 6 81976636
Danielle@daniellekwaaitaal.nl Francis@francisboeske.nl
