Just as a depth is in a way a surface, profundity also harbours superficiality. Over time, our sense of wonder diminishes and our ideas lose their urgency, even appearing trite. Dries Segers sets out to counter this process. What is dim, he polishes and what has dulled, he sharpens.
Rather than taking shots of exotic places, he dwells on barely or profusely seen elements of the social environment in his own country: a bent and broken tree trunk, curdled tea remains in a bright white cup, a shop’s sun-bleached door mat and a battered and patched piece of road – the latter an example of his esteem for anonymous forms of artistry.
In his first artist book, 'Seeing a rainbow...' (2015), he captures these inconspicuous components through a rainbow prism. it reads as an accumulating colour code and allows for free associations across the book. Segers uses colour to highlight the extraordinary in the everyday, but here he is just as sceptical as he is lyrical. his aestheticism also serves to remind us of familiar crises: those of ecology, consumption and urbanisation.
His gentle insistence that we see and address things differently, and do not slip into grey indifference, is expressed in fluid compositions that pierce through the prosaic and create a dynamic between surface and depth.
text: Thomas Van Loocke
Dries Segers’ process based practice mainly focuses on the idea of an uncontrollable image, self-generating images.
His praxis examines the slowness of the photographic image that leaves reality to seek out for its own abstraction and elegance. The wonderment and fascination arises again with the creation of something where the artist has releases his supervision and becomes a spectator himself.
In FMC, Segers worked on the series 'They where all asking themselves the same question / What is behind that curtain?', 2016.
05.09.2016 - 07.10.2016