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Anchor IBL&S


Black & White C-Prints - editions 5 and 7

32.6X47,6cm - 50X72,5cm and subject specific dimensions - fine black wooden frame - anti-reflective museum glass UV-99

In his new, organically growing body of work, "In between >land and sea<" Roseport abandons the often Rothkosian tableaux of Transcendental Tranquility.

The subjects he now captures had been pushing him in the back for years. He now records them in a hard, sometimes almost graphic - without however seeking abstraction- black and white photography, in which details play the leading role.

The brutally cut cliffs, gently rolling dunes and swaying grasses fill him with just as much awe as the immense bodies of water that he photographs in Transcendental Tranquility. Their immensity, their energy, even the threat that sometimes literally emanates from them, their creation, in a relentless process, worked on him more and more deeply, until he turned the camera and let the conversations of the structures drawn by the elements enter him and let them tell their stories in a closed intimacy.

Those stories of relentless struggle in an uneven battle were captured in what he calls a temporary reality, for erosion by wind, waves, water and frost constantly changes what he captures. What is now is soon gone and different. Nature tirelessly cuts and models her own works of art.

In Roseport's rendering of them, an atmosphere both threatening and liberating constantly lurks. Greedy use of harsh black tones result in a powerful visual language in the Birling Gap works. Soft musing sounds emerge when viewing the dune top in Malo-les-Bains. Dreamy desolation permeates the perception of the wooden structures placed by human intervention and newly shaped by nature in Cuckmere Haven and the bunkers on Leffrinckoucke beach.

The fact that nature gives even these structures/architectures installed between sea and land new forms and a new purpose as a work of art, urges Roseport to portray them as well. Even more so than nature, they lose the never-ending battle and thus acquire new meaning.

In between >land and sea< avoids, through its approach, what at first sight might appear to be documentary photography. Under the skin, those who allow themselves the time to look see the tranquility, but also the impulse to contemplate. It results in a slow but sure detachment from reality and the moment and ultimately in a mental displacement.

What Roseport does with his rendering in In between >land and sea< is to allow the subjects to dialogue with the viewer. Through the this time deliberately chosen small dimensions of the works, he invites the viewer, obliges the viewer to come closer to the image and allow what they see to slowly trickle into them in order to allow the experience in the mind to take over the body.

The fact that Roseport continues to put the aesthetic approach first, rewarding the viewer rather than shocking them, is a matter of course for him here too, as in Transcendental Tranquility, Fading Memories and Closer to the gods.

Whereas in Transcendental Tranquility Roseport silently forces the spectator to choose whether or not to place the images in his own imagined geography, he now - in line with the detailed language of the recordings - indicates the exact location of the recording, so that the spectator himself can go and see transience, his own temporary reality, on the spot.

At the same time, the project draws attention to the fact that storms and rising sea levels are continuously eating away at our coasts. In France today (2023), no fewer than 864 coastal communities are threatened by that rising sea level, from the Côte-d'Azur over the Atlantic beaches, the rugged Breton coast to the Opal Coast. Over the past 50 years, France has already lost about 30 square kilometers of land. 



As time goes by memories fade away. What once was sharp, crisp and vivid in our minds, gets blurred.  Shapes and colours disappear. No matter how hard we fight. Bits and pieces are gone to never come back.

With Fading Memories I try to visualise this feeling of losing the details. Time has been put to a stop. Details are gone. The images take on a dreamlike surreal atmosphere.

But even the most fragile memory can bring back the whole story. And most of the time, we will remember what is forgotten more beautiful - if

it was tough or hard, softer - than it really was. It's what we do. It's how we survive.

In Fading Memories, I know the story behind the image. The place. The time. The people. You don't. Thanks to what you don't see, the images suggest more open stories than the ones I know. More open stories than they would do if the images were intact. So your mind will create your own story. Immediately. Don't stop it. Have Fading Memories challenge your imagination.

Fading memories

On the coast of Britain, 2,900km of the total 17,000km of coastline is under threat. Houses too close to the coast are disappearing into the sea with landslides. 50,000 properties (houses, offices, public buildings,...), 100,000 people are threatened, despite the many infrastructure works strengthening the coastal strip.


Close to the gods


You ask me why I nestle in the green mountains.

I laugh but answer not - my heart is serene.

Peach blossoms and flowing waters go without a trace.

There is another heaven and earth beyond the world of man. 

LI BAI (701-762)

“For years I've been photographing to create something beautiful, images that move people.  Photography in which one can discover initially hidden layers, photography that one can experience again and again.  

In my Transcendental Tranquility project, it's seascapes, distilled to their essence, authentic without any post-processing. Sometimes the oceans are no longer recognizable and they become Rothkosian color impressions, but the goal is not to show an ocean. The point is to create a scene that generates a state of calm in which what is perceived as

troublesome in the psyche falls away.  

I see the Closer To The Gods project as the antithesis of the Transcendental Tranquility project. It originated in Covid times when photographing oceans became impossible due to the closed borders. Like quite a few photographers, I fell back on previously created material; the inhospitable plateaus and glaciers of Iceland, the mountain landscapes of the Pyrenees and the high altitude deserts of Ladakh.

In Closer To The Gods, these are portrayed hard and directly in powerful, high-contrast black-and-white photography. Nature does not invite here, she imposes. Compelling, ominous, at times almost menacing. It is a nature that impresses and often looks as if it could insidiously swallow and crush us at any moment.  

In the layered photography of Transcendental Tranquility, however, nature does not impose itself, it invites us to drown in it and regain a tranquility that we so often lack today.”

Published in #18 of the ALL ABOUT PHOTO MAGAZINE showing the 25 best BW photographers - wordwide competition

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No place like home


No place like home is about seeing beauty in the world immediately surrounding us; a few words in a book that had an impact on our life, the shadow-play on a wall on a sunny day, a present for a daughter, left behind when she left home long ago, …

It’s about the she silent and discrete beauty of an object, the artistry of

 a scenery we forget to see. It’s about the stories these observations ignite in our heads when we isolate them. It’s about living more consciously and discovering continuously the  beauty and power of simple details immediately around us that make life, our life.


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